considerably enlarged by the addition of the andantino that frames the Adagio in No. 19, followed by a shortened repeat of the opening section. Thus the movement now has an ABA form. The original title of the new work was L'Arlésienne, Suite d'orchestre, but after the appearance of a second suite (i. e., ), it would be known as L'Arlésienne Suite No. 1 (). It was first performed on 10 November 1872 under Jules Pasdeloup of the Concerts populaires in the Cirque d'Hiver with great success. L'Arlésienne Suite No. 2 (1879) L'Arlésienne Suite No. 1 became so popular that the publisher Choudens commissioned a second set in 1879, four years after Bizet's untimely death. His friend Ernest Guiraud is claimed to have arranged the other three large scale movements and, adding an extraneous number (the Minuet), assembled a second four movement suite as follows: Pastorale Intermezzo Minuet Farandole The choral parts of the Pastorale were arranged for orchestra. This two part movement acquires an ABA form, like the Carillon movement, by a repeat of the opening music. The Minuet was taken from Scènes bohémiennes, a suite of material originally composed for Bizet's 1866 opera La jolie fille de Perth. The Farandole (the name of a Provençal dance) is a condensation of several numbers of the incidental music in which, once again, the choral parts were arranged for orchestra. Although L'Arlésienne Suite No. 2 is assumed to be Guiraud's work (his name is not mentioned in any scores) and is not as unified as the first suite, it contains a large proportion of inspired Bizet material, and is therefore generally credited to Bizet. The first performance of the second suite took place on 21 March 1880 when Jules Pasdeloup again led the orchestra of the Concerts populaires. L'Arlésienne, incidental music (1885) The popularity of Bizet's music for L'Arlésienne was undoubtedly one of the factors prompting a later reappraisal of the original drama, and on 5 May 1885, a revival took place at the Théâtre de l'Odéon in Paris. Although again greeted coldly initially, the production was ultimately a great success. A new version of the score for full orchestra was used, in which some numbers from the suites, now expanded both in content and instrumentation (especially, for example, № 18 'Carillon'), replaced the original small ensemble orchestrations of the 1872 version. A few numbers were omitted, duplicated, truncated, or exchanged positions.