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Riga 54:
== Descrizione dei pezzi ==
===='''''Paysage''''' (''Paesaggio'')====
D-flat major, 2/4; ''Allegro non troppo – vivo'' (dedicated to 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.
Riga 60:
''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>
G major, 9 & 6/8; ''Ben moderato senza rigore et sempre tempo rubato'' (dedicated to Marie Pillon)<br />
About ''Mélancolie'', Cortot was moved to write that its 'nostalgic charm and discreet perfection' defied analysis. [[Maurice Ravel|Ravel]] saw the soul of [[Édouard Manet|Manet]]'s ''[[Olympia (Manet)|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.
Riga 66:
''Mélancolie'' is a sophisticated blend of textural inversion, canon and rhythmic compression that essentially determines the piece's outer envelope.<ref name="Howat R. Modernization 2006"/> Poulenc suggests that the piece should be played with "allegresse et tendresse".
D major, 3/4; ''Allegro con fuoco'' (dedicated to Marie Meurice)<br />
At first echoing the animated rhythms of [[Hector Berlioz|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 [[Felix Mendelssohn|Mendelssohnian]] passage with one ironically in the manner of [[Jacques Offenbach|Offenbach]].
C major, 2/4; ''Andantino'' (dedicated to Marie de la Guèronnière)<br />
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.
Riga 76:
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.
A minor, 3/4; ''Moderato'' (dedicated to Madame Charles Phalen)<br />
Written before Chabrier's visit to Spain but colourful and with modal touches, muted effects and plucked notes – a precursor of [[Claude Debussy|Debussy]]'s ''[[Estampes#Soirée dans Grenade|Soirée dans Grenade]]''. Poulenc compared it to the ''Forlane'' from Ravel's ''[[Le tombeau de Couperin]]''.
E major, 4/4; ''Allegretto'' (dedicated to Jeanne Monvoisin)<br />
'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]].<ref name="Poulenc"/>
A minor, 2/4; ''Allegro risoluto'' (dedicated to Yvonne de Montesquieu)<br />
''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 [[Ludwig van Beethoven|Beethoven]]'s [[Piano Sonata No. 25 (Beethoven)|Piano Sonata No. 25]]). The decisive scherzo is in A minor while the hesitating trio in the major.
B-flat major, 6/8, 2/4; ''Andantino – Appassionato e con impeto – molto con impeto – moderato'' (dedicated to Marguerite Gagne)<br />
'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]].
G minor, 3/4; ''Allegro franco – meno mosso e molto dolce e grazioso'' (dedicated to Gabrielle Petitdemange)<br />
''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.
D major, 9/16, 3/8; ''Vivo'' (dedicated to Mina de Gabriac)<br />
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).
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