Royal Concertgebouw Orchestra conducted by Bernard Haitink.

I - Allegro vivo: 0:00
II - Adagio: 7:47
III - Scherzo. Allegro vivace - Trio - [Tempo I]: 17:22
IV - Allegro vivace: 22:54

Bizet's Symphony No.1 was composed between October and December of 1855, while he was studying at the Paris Conservatory. He took as a model Gounod's Symphony No.1, of which he had made a four-hand piano transcription. The piece was never performed in the composer's lifetime, not even being mentioned in his correspondence. The reason why is a mystery, but perhaps he considered it a mere student exercise or even a whim of youth.

After Bizet's death in 1875, his widow Geneviève Halévy gave the manuscript to the Venezuelan-French composer Reynaldo Hahn, who made no effort to have the piece performed or even known. It was only rediscovered in 1933 by French musicologist Jean Chantavoine, found in a pile of manuscripts given to the Conservatory of Paris by Reynaldo Hahn. Austrian composer and conductor Felix Weingartner then premiered the piece in Basel on February 26 of 1935. Ever since then, the symphony has highly popular, being widely performed and recorded and becoming Bizet's most popular symphonic piece.

The numerous stylistic, orchestral, melodic and harmonic similarities between the Gounod and Bizet symphonies make it clear that Bizet was emulating and, in certain cases, directly quoting his teacher. There are, in fact, so many references, parodies and quotations from Gounod in Bizet's work that it is likely the young composer was consciously paying homage to his celebrated teacher. As Bizet would later write to his former teacher: "You were the beginning of my life as an artist. I spring from you. You are the cause, I am the consequence". This sentiment permeates the compositional spirit of the symphony.

The first movement is structured in sonata form. It begins with a three-note motive, which is the basis of a rhythmic and animated main theme. A more lyrical second theme is then presented by oboes and flutes, showing Bizet's melodic gifts. It then becomes the main subject of the following development, with repeated intrusions of the first in various guises. The recapitulation then bricks the themes in their original form. A short but firm coda, based on the main theme, ends the movement.

The second movement is written in ternary form. It opens with a short introduction with soft horn chords and octave leaps in the woodwinds, almost pastoral in its flavour. A lyrical and sinuous main theme is then presented by the oboe over staccato strings. Here is an announcement of the exotic and picturesque Bizet of the "L'Arlésienne" and "Carmen". The strings take the theme and unfold it in an operatic air, reaching an expressive climax. The middle section consists of a graceful fugue based on the octave leaps of the opening. The main theme is then recapitulated, before the opening horn chords and octaves end the movement serenely.

The third movement is a scherzo in ternary form. It begins with a rhythmic and animated main theme, heavily reminiscent of a Scottish gigue. It is contrasted by a more lyrical second theme in the style of Mendelssohn's Italian Symphony. The trio section is a bucolic episode in which clarinet and bassoon resonate with the gigue theme supported by string chords, with open fifths that remind us of peasant rustic music. The scherzo, with its two themes, is then recapitulated. A firm coda ends the movement.

The fourth movement is also written in an expanded sonata form. It opens with a jubilant and vivacious main theme, full of a strength strenght. A second theme in form of a march is introduced by the woodwinds, then taken by full orchestra. A lyrical third theme is then presented by strings. As in the second movement, the material present here announces the mature Bizet. Follows a vigorous development section, dominated by the restless energy of the main theme. After the recapitulation, A brilliant coda ends the whole work.

Picture: "Portrait of Georges Bizet" (1865) by the French painter Félix-Henri Giacomotti.

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