The significance of this piece and the reason for its inclusion in this list lies in the fact that it represents the first time that the bass clarinet was included among the possible solo instruments in an arrangement of a popular melody. This indicates that an important publisher, as well as the arranger, thought that there would be sufficient market for such a publication for the bass clarinet. The arrangement is the same as that for the soprano clarinet. It was not printed separately, but rather was included with the part for the clarinet, which is labeled "Clarinette en Sib ou Clarinette Bass". The bass clarinet version was, however, listed separately in the Bibliographie Musicale Française.¹ The dedication "à Monsieur A. Perrier" raises the question of whether Perrier, who was a professor of clarinet at the Paris Conservatoire, played the work on soprano or bass clarinet.

A smooth, controlled, legato technique and expressive playing are the requirements for performance of this piece, which is transcribed virtually exactly from the aria of the opera's soprano heroine Beatrix. Other than transposition one tone higher, the inclusion in the clarinet part of a seven-measure interlude which was originally orchestral and the displacement of the recapitulation one octave lower are the only change from the original soprano aria.²

The tempo of the aria, which is seventy-four measures in length, is andantino. The clarinet/bass clarinet version is in C major, with a range of two octaves and a major seventh, extending from E to d''. The clarion register predominates, except in the recapitulation, which is centered in the chalumeau.

The distribution of range is:

¹ BMF 168: 9.

² Camille Saint-Säensa, "O beaux rêves évanouis" (Chant et piano) (Paris: Durand et Fils, 1912).