D-flat[[Re bemolle majormaggiore]], 2/4; ''Allegro non troppo – -vivo'' (dedicateddedicato toa La comtesse de Narbonne-Lara)<br/>
For [[Francis Poulenc|Poulenc]], ''Paysage'' portrayed a landscape where life was to be enjoyed. The middle section is a voluble depiction of agitation<ref>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.</ref> calmed by the return of the main theme.▼
▲ForPer [[Francis Poulenc|Poulenc]], ''Paysage'' portrayeddipingeva aun landscapepaesaggio wherein lifecui wassi topoteva begodere enjoyeddella vita. TheLa middlesezione sectioncentrale isè auna volublerappresentazione depictionloquace ofdi agitationturbamento,<ref>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.</ref> calmed by thecalmato returndal ofritorno thedel maintema themeprincipale.
''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.<ref name="Howat R. Modernization 2006">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.</ref> Poulenc suggests that the piece should be played with "allegresse et tendresse".<ref name="Poulenc">Poulenc F. ''Emmanuel Chabrier.'' La Palatine, Geneva & Paris, 1961.</ref>▼
▲''Paysage'' opensapre theil cycleciclo withcon auna straightcadenza perfectperfetta cadencee todiritta theverso tonicil D-flatre bemolle tonico, downgradingdeclassando whatciò textbooksche wouldi telllibri usdi shouldtesto beci reserveddirebbero fordovrebbero aessere moreriservati conclusiveper momentun momento più conclusivo. ''Paysage'' isè riddledpieno withdi rhythmicgiochi andritmici harmonice gamesarmonici, notnon leastda theultimo absencel'assenza throughoutdi ofuna asola singlechiara clearfrase four-bardi phrasequattro battute; thela piece'ssezione openingdi sectionapertura del pezzo, alltutta in three-barfrasi phrasesa tre battute, makesfa due finti twoscherzi teasingcon feintsfrasi atdi four-barquattro phrasesbattute, bothentrambe thwartedcontrastate.<ref name="Howat R. Modernization 2006">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.</ref> Poulenc suggestssuggerisce thatche theil piecebrano shoulddebba beessere playedsuonato withcon "allegresse et tendresse".<ref name="Poulenc">Poulenc F. ''Emmanuel Chabrier.'' La Palatine, Geneva & Paris, 1961.</ref>
===='''''Mélancolie''''' (''Melancolia'')====
Riga 104 ⟶ 105:
==''Suite pastorale''==
BetweenTra il 1881 ande il 1888 Chabrier orchestratedorchestrò ''Idylle'', ''Danse villageoise'', ''Sous-bois'' ande ''Scherzo-valse'' toper formformare thela ''[[Suite pastorale]]''.<ref>Delage R. ''Emmanuel Chabrier''. Fayard, Paris, 1999. In the orchestral version ''Idylle'' is a semi-tone higher.</ref>
