can help him forget his obsession, Balthazar and Rose express their relief. Intermezzo Act 2 is followed by the Minuet (№ 17) and the Carillon (№ 18), both used in the first suite. Act 3 Tableau 1: The Castelet farm courtyard A 6/8 Andantino Mélodrame (№ 19) marks the entrance of Mère Renaud in Scene III, and in the following Adagio (the Adagietto in the first Suite) Balthazar and Renaud reminisce about old times. As all move off to eat, there is a reprise of the Andantino. Another Andantino follows the exit of Frédéri and Vivette as they declare their love (№ 20). The farandole (№ 21, Danso dei Chivau-Frus) which begins quietly and builds to a climax sees Frédéri respond with fury to Mitifio who has come to tell Balthazar that he will run off with the girl from Arles (№ 22). Tableau 2: The Magnanery The farandole is heard, then the March of the Kings is sung by the chorus, after which the two are combined (№ 23); there is reprise for chorus of the March of the Kings (№ 24). In (№ 25) l’Innocent ‘awakens’ showing he understands his brother’s problem. In mélodrame (№ 26) Rose is momentarily reassured as the clock strikes three, while the Final is a powerful tutti version of Frédéri’s theme (№ 27) which brings down the curtain. Source: Piano vocal score, Choudens, Paris (ca. 1885) Suite No. 1 (1872) The suite opens with a strong, energetic theme, which is based on the Epiphany carol "March of the Kings", played by the violins. Afterwards, the theme is repeated by various sections. After reaching a climax, the theme fades away. It is followed by the theme associated with L'Innocent (the brother of Frédéri, the hero). The Prélude concludes with the theme associated with Frédéri himself. The second movement resembles a minuet, while the third is more emotional and muted. The last movement, Carillon, features a repeating bell-tone pattern on the horns, mimicking a peal of church bells. Movements I. Prélude, Allegro deciso (the March of the Kings) II. Minuet, Allegro giocoso (The ending of this movement is slightly expanded from the version in the incidental music.) III. Adagietto (In the incidental music, this number is preceded and followed by a melodrama that, in the suite, forms the central section of the concluding Carillon. For this purpose it is transposed up a semitone.) IV. Carillon,