Courtney Bryan on her work ‘Carmen, Jazz Suite on Themes by Bizet’

In this program note, composer Courtney Bryan discusses her work, inspired by Georges Bizet’s opera and commissioned by the Orpheus Chamber Orchestra. The ensemble will perform the piece in a Symphony Center Presents Special Concert on Jan. 22.

Written for the Orpheus Chamber Orchestra featuring Branford Marsalis, Carmen, Jazz Suite on Themes by Bizet is a contemporary take on the French composer’s classic 1875 opera Carmen. In this version of the timeless story, Carmen’s voice is centered and represented by Branford Marsalis on the saxophone. The music addresses her themes of freedom, love and fearlessness, celebrating an imagined world in which Carmen lives and wins. ’

The suite begins with a section titled Carmen’s Freedom. Carmen is free and unbound. Following an improvised introduction by Marsalis, the cellos enter with Bizet’s iconic ostinato from “L’amour est un oiseau rebelle,” which is based on the Cuban rhythm known as the habañera. In honor of the historical music of Congo Square of New Orleans, the hometown of Branford Marsalis and Courtney Bryan, the string section layers entrances with figures based on various African-derived rhythmic cells (from West Africa, often by way of Haiti and Cuba) that would have been heard at Congo Square: the habañera, tresillo or bamboula, cinquillo and a 3-2 clave.

Bizet’s melody is played by Marsalis with responses from the orchestra and continues into an improvisation on the themes. Next, Carmen’s Loves begins with a 2-3 clave in the percussion. Carmen is still free and unbound and begins to contemplate her loves. While Marsalis plays Carmen’s seguidilla melody, “Près des remparts de Séville,” the clarinet and oboe later state a theme of danger before the bassoon enters with a theme from Don José’s “La fleur que tu m’avais jetée.”

Later in this section, the horn and trumpet alternate playing the theme from Escamillo’s Toreador Song, “Votre toast je peux pas le rendre,” supported by the string section figures from the initial habañera theme. Carmen’s two loves serve as secondary themes, while her seguidilla melody remains the primary theme.

Carmen’s Omen of Death is based on the card scene in the original opera when Carmen sings of her impending fate. This theme is a key part of the story, and here it is expanded upon, including improvisation. There is a feeling of defiance but also one of resignation.

The final section, titled Carmen Defeats Death, is a twist on the original story. This section is based on themes from the Act IV duet between Don José and Carmen, “C’est toi? C’est moi!” In particular, inspiration comes from Carmen’s statement, “Jamais Carmen ne cédera! Libre elle est née, et libre elle mourra!” (“I won’t give in, this is goodbye! Free I was born, and free I shall die!”)

Carmen, however, escapes her expected fate. She lives and is heard rising toward freedom.