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Pièces pittoresques

January 01, 1970

Pièces pittoresques (Picturesque pieces) are a set of ten pieces for piano by Emmanuel Chabrier. Four of the set were later orchestrated by the composer to make his Suite pastorale.

Background edit

 
Autour du piano, oil on canvas 1885 by Henri Fantin-Latour; Chabrier at the piano, Adolphe Julien, Arthur Boisseau, Camille Benoît, Edmond Maître, Antoine Lascoux, Vincent d'Indy and Amédée Pigeon grouped around.

In 1880, while on a convalescent holiday at the coastal resort of Saint-Pair (near Granville), Chabrier composed what were to be called Pièces pittoresques.[1] Both Alfred Cortot (in La musique française de piano, PUF, 1932) and Francis Poulenc (Emmanuel Chabrier, 1961) discuss these short works enthusiastically. César Franck, at their premiere in 1881, remarked that those present had "just heard something exceptional. This music links our own time to that of Couperin and Rameau".[2]

The manuscript in the archive of Litolff publishers was destroyed by an air-raid on Brunswick in 1942.[1]

The first performances of individual pieces took place on different dates: 9 April 1881 for Sous-bois, Idylle, Danse villageoise, Improvisation, Menuet pompeux, Scherzo-valse (Marie Poitevin); Mélancolie on 24 December 1887 (Marie-Léontine Bordes-Pène); others unknown.[1]

Several of the movements were incorporated by Constant Lambert in the 1934 ballet Bar aux Folies-Bergère.

Description of the pieces edit

Paysage (Landscape)

D-flat major, 2/4; Allegro non troppo – vivo (dedicated to La comtesse de Narbonne-Lara)
For Poulenc, Paysage portrayed a landscape where life was to be enjoyed. The middle section is a voluble depiction of agitation[3] calmed by the return of the main theme.

Paysage opens the cycle with a straight perfect cadence to the tonic D-flat, downgrading what textbooks would tell us should be reserved for a more conclusive moment. Paysage is riddled with rhythmic and harmonic games, not least the absence throughout of a single clear four-bar phrase; the piece's opening section, all in three-bar phrases, makes two teasing feints at four-bar phrases, both thwarted.[4] Poulenc suggests that the piece should be played with "allegresse et tendresse".[5]

Mélancolie (Melancholy)

G major, 9 & 6/8; Ben moderato senza rigore et sempre tempo rubato (dedicated to Marie Pillon)
About Mélancolie, Cortot was moved to write that its 'nostalgic charm and discreet perfection' defied analysis. Ravel saw the soul of Manet's Olympia in Mélancolie. The alternating 9/8 and 6/8 bars create an atmosphere of wandering tenderness and uncertainty; the piece closes with a canon at the double octave then in lows fifths.

Mélancolie is a sophisticated blend of textural inversion, canon and rhythmic compression that essentially determines the piece's outer envelope.[4] Poulenc suggests that the piece should be played with "allegresse et tendresse".

Tourbillon (Whirlwind)

D major, 3/4; Allegro con fuoco (dedicated to Marie Meurice)
At first echoing the animated rhythms of Berlioz's Béatrice et Bénédict, it evolves into a more complex beat, avoiding the bar-line. Its almost aggressive force is perhaps a reminder of the possibilities of Chabrier's own playing. The final bars juxtapose a Mendelssohnian passage with one ironically in the manner of Offenbach.

Sous-bois (Under the trees)

C major, 2/4; Andantino (dedicated to Marie de la Guèronnière)
Economy of means, a sense of movement even in immobility and constantly changing harmonies (from C major to remote and unlikely tonalities) in the right-hand and the weaving bass over which a broken melody.

Poulenc wrote that Ravel had often spoken to him of this piece with enthusiasm, considering it one of the great moments in Chabrier's output.

Mauresque (Moorish)

A minor, 3/4; Moderato (dedicated to Madame Charles Phalen)
Written before Chabrier's visit to Spain but colourful and with modal touches, muted effects and plucked notes – a precursor of Debussy's Soirée dans Grenade. Poulenc compared it to the Forlane from Ravel's Le tombeau de Couperin.

Idylle (Idyll)

E major, 4/4; Allegretto (dedicated to Jeanne Monvoisin)
'Allegretto avec fraîcheur et naïveté' albeit with some artfulness – a song ('bien chantée'), accompanied by a pizzicato effect 'un sentiment assez campagnard'. Poulenc wrote that when he heard this piece for the first time in February 1914 he was overwhelmed: "un univers harmonique s'ouvrait soudain devant moi et ma musique n'a jamais oublie ce premier baiser d'amour". He added that the piece should be played at the metronome marking, without rubato.[5]

Danse villageoise (Village dance)

A minor, 2/4; Allegro risoluto (dedicated to Yvonne de Montesquieu)
Danse villageoise, in a more traditional ternary form, provides a slightly heavy-footed contrast and illustrates the rustic spirit of Chabrier yet with precise polyphony (with some elements of Beethoven's Piano Sonata No. 25). The decisive scherzo is in A minor while the hesitating trio in the major.

Improvisation

B-flat major, 6/8, 2/4; Andantino – Appassionato e con impeto – molto con impeto – moderato (dedicated to Marguerite Gagne)
'Fantasque et passionnée' with the greatest variety of rhythms, the hints of methods which become common in Debussy (e.g. four dotted quavers in a bar of 6/8): the bars become at times ¾ or 2/4. Although entitled an improvisation, it is in fact in a strict sonata form.

Menuet pompeux (Pompous minuet)

G minor, 3/4; Allegro franco – meno mosso e molto dolce e grazioso (dedicated to Gabrielle Petitdemange)
Menuet pompeux, despite some arresting harmonies, shows Chabrier looking backward rather than forward. If the minuet is more like an Auvergnat dance, the G major trio is a nod to the 18th century.

Scherzo-valse

D major, 9/16, 3/8; Vivo (dedicated to Mina de Gabriac)
A spirited conclusion to the set, although again the trio allows a respite from the energy of the infectious joie de vivre of the main section. Poulenc criticised those who take this piece faster than dotted crotchet = 192 (as Ricardo Viñes played it). [6]

The titles appear not to be Chabrier's own, but were provided by his publishers.[1]

Suite pastorale edit

Between 1881 and 1888 Chabrier orchestrated Idylle, Danse villageoise, Sous-bois and Scherzo-valse to form the Suite pastorale. The suite was first performed on 4 November 1888 by the Association artistique d'Angers, conducted by Chabrier himself.[7]

The instrumentation is 2 flutes (one doubling piccolo), 1 oboe, 2 clarinets in B♭ and A, 2 bassoons - 2 horns in F and E, 2 cornets à pistons in C, 3 trombones (Scherzo-Valse only) - timpani, bass drum, triangle - harp, strings.

References edit

  1. ^ a b c d Delage R. Emmanuel Chabrier. Fayard, Paris, 1999.
  2. ^ Quoted in Delage, p252.
  3. ^ Possibly an influence on Vincent d'Indy’s first major piano work Coup de Vent. Cushman R. Notes accompanying Chabrier Piano Works. Vox VBX 400.
  4. ^ a b Howat R. Modernization: from Chabrier to Faure to Debussy and Ravel. In: French Music since Berlioz. By Richard Langham Smith, Caroline Potter. Ashgate Publishing, 2006.
  5. ^ a b Poulenc F. Emmanuel Chabrier. La Palatine, Geneva & Paris, 1961.
  6. ^ Unless specifically noted, descriptions taken from: Cinquante Ans de Musique Française de 1874 à 1925. Les Éditions Musicales de la Librairie de France, Paris, 1925; Cushman R. Notes accompanying Chabrier Piano Works. Vox VBX 400.
  7. ^ Delage R. Emmanuel Chabrier. Fayard, Paris, 1999. In the orchestral version Idylle is a semi-tone higher.

January 01, 1970
pièces, pittoresques, picturesque, pieces, pieces, piano, emmanuel, chabrier, four, were, later, orchestrated, composer, make, suite, pastorale, contents, background, description, pieces, suite, pastorale, referencesbackground, edit, nbsp, autour, piano, canva. Pieces pittoresques Picturesque pieces are a set of ten pieces for piano by Emmanuel Chabrier Four of the set were later orchestrated by the composer to make his Suite pastorale Contents 1 Background 2 Description of the pieces 3 Suite pastorale 4 ReferencesBackground edit nbsp Autour du piano oil on canvas 1885 by Henri Fantin Latour Chabrier at the piano Adolphe Julien Arthur Boisseau Camille Benoit Edmond Maitre Antoine Lascoux Vincent d Indy and Amedee Pigeon grouped around In 1880 while on a convalescent holiday at the coastal resort of Saint Pair near Granville Chabrier composed what were to be called Pieces pittoresques 1 Both Alfred Cortot in La musique francaise de piano PUF 1932 and Francis Poulenc Emmanuel Chabrier 1961 discuss these short works enthusiastically Cesar Franck at their premiere in 1881 remarked that those present had just heard something exceptional This music links our own time to that of Couperin and Rameau 2 The manuscript in the archive of Litolff publishers was destroyed by an air raid on Brunswick in 1942 1 The first performances of individual pieces took place on different dates 9 April 1881 for Sous bois Idylle Danse villageoise Improvisation Menuet pompeux Scherzo valse Marie Poitevin Melancolie on 24 December 1887 Marie Leontine Bordes Pene others unknown 1 Several of the movements were incorporated by Constant Lambert in the 1934 ballet Bar aux Folies Bergere Description of the pieces editPaysage Landscape D flat major 2 4 Allegro non troppo vivo dedicated to La comtesse de Narbonne Lara For Poulenc Paysage portrayed a landscape where life was to be enjoyed The middle section is a voluble depiction of agitation 3 calmed by the return of the main theme Paysage opens the cycle with a straight perfect cadence to the tonic D flat downgrading what textbooks would tell us should be reserved for a more conclusive moment Paysage is riddled with rhythmic and harmonic games not least the absence throughout of a single clear four bar phrase the piece s opening section all in three bar phrases makes two teasing feints at four bar phrases both thwarted 4 Poulenc suggests that the piece should be played with allegresse et tendresse 5 Melancolie Melancholy G major 9 amp 6 8 Ben moderato senza rigore et sempre tempo rubato dedicated to Marie Pillon About Melancolie Cortot was moved to write that its nostalgic charm and discreet perfection defied analysis Ravel saw the soul of Manet s Olympia in Melancolie The alternating 9 8 and 6 8 bars create an atmosphere of wandering tenderness and uncertainty the piece closes with a canon at the double octave then in lows fifths Melancolie is a sophisticated blend of textural inversion canon and rhythmic compression that essentially determines the piece s outer envelope 4 Poulenc suggests that the piece should be played with allegresse et tendresse Tourbillon Whirlwind D major 3 4 Allegro con fuoco dedicated to Marie Meurice At first echoing the animated rhythms of Berlioz s Beatrice et Benedict it evolves into a more complex beat avoiding the bar line Its almost aggressive force is perhaps a reminder of the possibilities of Chabrier s own playing The final bars juxtapose a Mendelssohnian passage with one ironically in the manner of Offenbach Sous bois Under the trees C major 2 4 Andantino dedicated to Marie de la Gueronniere Economy of means a sense of movement even in immobility and constantly changing harmonies from C major to remote and unlikely tonalities in the right hand and the weaving bass over which a broken melody Poulenc wrote that Ravel had often spoken to him of this piece with enthusiasm considering it one of the great moments in Chabrier s output Mauresque Moorish A minor 3 4 Moderato dedicated to Madame Charles Phalen Written before Chabrier s visit to Spain but colourful and with modal touches muted effects and plucked notes a precursor of Debussy s Soiree dans Grenade Poulenc compared it to the Forlane from Ravel s Le tombeau de Couperin Idylle Idyll E major 4 4 Allegretto dedicated to Jeanne Monvoisin Allegretto avec fraicheur et naivete albeit with some artfulness a song bien chantee accompanied by a pizzicato effect un sentiment assez campagnard Poulenc wrote that when he heard this piece for the first time in February 1914 he was overwhelmed un univers harmonique s ouvrait soudain devant moi et ma musique n a jamais oublie ce premier baiser d amour He added that the piece should be played at the metronome marking without rubato 5 Danse villageoise Village dance A minor 2 4 Allegro risoluto dedicated to Yvonne de Montesquieu Danse villageoise in a more traditional ternary form provides a slightly heavy footed contrast and illustrates the rustic spirit of Chabrier yet with precise polyphony with some elements of Beethoven s Piano Sonata No 25 The decisive scherzo is in A minor while the hesitating trio in the major Improvisation B flat major 6 8 2 4 Andantino Appassionato e con impeto molto con impeto moderato dedicated to Marguerite Gagne Fantasque et passionnee with the greatest variety of rhythms the hints of methods which become common in Debussy e g four dotted quavers in a bar of 6 8 the bars become at times or 2 4 Although entitled an improvisation it is in fact in a strict sonata form Menuet pompeux Pompous minuet G minor 3 4 Allegro franco meno mosso e molto dolce e grazioso dedicated to Gabrielle Petitdemange Menuet pompeux despite some arresting harmonies shows Chabrier looking backward rather than forward If the minuet is more like an Auvergnat dance the G major trio is a nod to the 18th century Scherzo valse D major 9 16 3 8 Vivo dedicated to Mina de Gabriac A spirited conclusion to the set although again the trio allows a respite from the energy of the infectious joie de vivre of the main section Poulenc criticised those who take this piece faster than dotted crotchet 192 as Ricardo Vines played it 6 The titles appear not to be Chabrier s own but were provided by his publishers 1 Suite pastorale editBetween 1881 and 1888 Chabrier orchestrated Idylle Danse villageoise Sous bois and Scherzo valse to form the Suite pastorale The suite was first performed on 4 November 1888 by the Association artistique d Angers conducted by Chabrier himself 7 The instrumentation is 2 flutes one doubling piccolo 1 oboe 2 clarinets in B and A 2 bassoons 2 horns in F and E 2 cornets a pistons in C 3 trombones Scherzo Valse only timpani bass drum triangle harp strings References edit a b c d Delage R Emmanuel Chabrier Fayard Paris 1999 Quoted in Delage p252 Possibly an influence on Vincent d Indy s first major piano work Coup de Vent Cushman R Notes accompanying Chabrier Piano Works Vox VBX 400 a b Howat R Modernization from Chabrier to Faure to Debussy and Ravel In French Music since Berlioz By Richard Langham Smith Caroline Potter Ashgate Publishing 2006 a b Poulenc F Emmanuel Chabrier La Palatine Geneva amp Paris 1961 Unless specifically noted descriptions taken from Cinquante Ans de Musique Francaise de 1874 a 1925 Les Editions Musicales de la Librairie de France Paris 1925 Cushman R Notes accompanying Chabrier Piano Works Vox VBX 400 Delage R Emmanuel Chabrier Fayard Paris 1999 In the orchestral version Idylle is a semi tone higher Retrieved from https en wikipedia org w index php title Pieces pittoresques amp oldid 1121073297, wikipedia, wiki, book, books, library,

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