The Trois valses romantiques (Three Romantic Waltzes) are a set of three pieces for two pianos by Emmanuel Chabrier. [1]
Chabrier began the composition in mid 1880, completing the first two; the third was not completed until the summer of 1883. Chabrier wrote his friend Paul Lacôme that he was damned if he knew why he was writing them, as the Enochs (his publishers) will find them too long, too difficult; but that he thought they might sell well, particularly to young ladies who play the piano seriously. Myers notes the considerable demands made on players’ technique. [2]
To inform his publisher Georges Costallat that he had finally managed to finish the third waltz, on 3 September 1883 he wrote a charade postcard, thus:
—Oiseau qui se pare des plumes du paon. (geai)
—Qualification de la nommée Carabosse. (fée)
—Note de la gamme. (la)
—Ousqu’il y avait un cheval de bois. (Troie)
—Peintre ordinaire de la place St Marc (Venise). (Ziem)
—Eau de table. (Vals) [3]
Ah ! ah ! ah!
E. CH.
Ile-faulx-Hill-Luminais ! [4]
The waltzes were given their first public performance at the Société Nationale de Musique on 15 December 1883 with André Messager and the composer playing. [2] Messager would later play them with Francis Poulenc. [5] They are dedicated to the wife of Chabrier's publisher, Madame G. Costallat. [1] For a performance in 1887, d’Indy wrote that Chabrier told him not to play the pieces as if they were by a member of the Institut! – this was followed by a lesson in playing Chabrier, wide a huge range of expression and interpretative detail. [2]
Claude Debussy studied them at the Villa Medicis in 1885 with Paul Vidal, who together played them to Franz Liszt, who was visiting Rome in 1886. In 1893 at the Salle Pleyel, Maurice Ravel and Ricardo Viñes played them to Chabrier who spent an hour and a half giving them his encouragement and advice. [1]
The waltzes were orchestrated by a champion of Chabrier's works, conductor-composer Felix Mottl, who also made the orchestral version of the same composer's Bourrée fantasque and Wagner's Wesendonck Lieder.
Delage notes the many novelties in the pieces – chains of ninths, methodic use of pentatonic scales in the third waltz, and sharp and spontaneous rhythms.
The first waltz in D major is the shortest of the three: after an introductory carillon, the waltz spins along in bubbling form.
The second waltz in E major is calmer than the first, with an opening fanfare anticipating the Fête Polonaise of Le roi malgré lui .
The third waltz in F major is the culmination of the set, where certain passages presage Debussy (Prélude à l'après-midi d'un faune, La terrasse au clair de lune from the Préludes) and Ravel (Jardin féeerique from Ma Mère l'Oie). [1]
(Achille) Claude Debussy was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the late 19th and early 20th centuries.
Joseph Maurice Ravel was a French composer, pianist and conductor. He is often associated with Impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer.
Alexis-Emmanuel Chabrier was a French Romantic composer and pianist. His bourgeois family did not approve of a musical career for him, and he studied law in Paris and then worked as a civil servant until the age of thirty-nine while immersing himself in the modernist artistic life of the French capital and composing in his spare time. From 1880 until his final illness he was a full-time composer.
Paul Antonin Vidal was a French composer, conductor and music teacher mainly active in Paris.
La valse, poème chorégraphique pour orchestre, is a work written by Maurice Ravel between February 1919 and 1920; it was first performed on 12 December 1920 in Paris. It was conceived as a ballet but is now more often heard as a concert work.
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"Bourrée fantasque" is a piece of music for solo piano by Emmanuel Chabrier (1841–1894), being one of his last major completed works.
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Joyeuse marche is a popular orchestra piece by the French composer Emmanuel Chabrier. It is the second half of a pair of orchestral pieces first performed on 4 November 1888 in Angers, conducted by the composer. The Joyeuse marche is dedicated to Vincent d'Indy.
Souvenirs de Munich is a quadrille on themes from Wagner's Tristan and Isolde, for piano, four hands by Emmanuel Chabrier.
Vaucochard et fils Ier is an unfinished opérette by Emmanuel Chabrier of which only some numbers survive. The French libretto was by Paul Verlaine.
Alexandre Tharaud is a French pianist. He is active on the concert stage and has released a large and diverse discography.
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Roger Delage was a French musicologist and conductor. He was the leading authority on the life and works of the composer Emmanuel Chabrier, and as a conductor was known for reviving the music of early French composers such as Guillaume de Machaut.
The French composer Emmanuel Chabrier (1841–1894) wrote music in many genres, including opera and operetta, piano, orchestral music, and songs with piano accompaniment. The songs cover most of his creative years, from the early 1860s to 1890, when the illness which would kill him prevented much composition. He came late to music as a profession, but – although being an exceptional pianist – he had no trappings of a formal training: no conservatoire studies, no Prix de Rome, "none of the conventional badges of French academic musicians, by whom he was regarded as an amateur".
Croquis et agaceries d'un gros bonhomme en bois, translated as Sketches and Exasperations of a Big Wooden Dummy, is a 1913 piano composition by Erik Satie. One of his pre-World War I humoristic suites, it was published by E. Demets that same year. Ricardo Viñes gave the premiere during a concert of the Société Nationale de Musique at the Salle Pleyel in Paris on March 28, 1914. A typical performance lasts about five minutes.
Les trois valses distinguées du précieux dégoûté (The Three Distinguished Waltzes of a Jaded Dandy) is a 1914 piano composition by Erik Satie. The shortest of his humoristic keyboard suites of the 1910s, it features what author James Harding called "the most baroque verbal scaffolding Satie ever erected around his music". A performance lasts around 3 minutes.