The Piano Music of Chaminade.
An article from The Modern Teacher's Music Cabinet (circa. October 1940,
author unknown).
Cecile Chaminade, the famous pianist-composer, was born in
Paris, 1861, and is still happily with us, although, I believe, she has ceased
to compose, as I cannot trace any new works by this writer of your order within the last few
years. Chaminade produced very little in the category of large-scale works, and
apart from two chamber trios (very fine, but quite neglected), a concert piece
for piano and orchestra, songs and an orchestral ballet, her output consists
almost entirely of salon works for piano solo and duet. Years ago these were
famous, and every pianist possessed volumes of her music___but unfortunately she
has now ceased to be the popular composer she once was with the majority of
pianists, and has been, to a certain extent, shamefully neglected by present-day
musicians. I cannot speak too highly of her work_to me it is perfect in every
way, pianistic, brilliantly effective, charming and musicianly, containing
nothing cheap or commonplace.
It may not be "great" music, but many would-be composers could easily take
pattern by her work and gain knowledge thereby, of how to write music ideally
suited for the piano. One needs to be a fine advanced pianist to play Chaminade
as she should be played, but less advanced players will gain a great amount of
pleasure from studying her work, for lovers of real melody cannot fail to be
impressed by her beautiful thoughts so attractively written. She visited
England a number of times, giving recitals of her own music, but apart from
this, her life seems to have been quite uneventful.
Representative Selection
Chaminade wrote practically nothing for young players, but teachers no doubt
would be interested to use her two Albums, Op. 123 (1st Series)
and
Op.126 (2nd Series), consisting of very easy pieces for infants (Elementary and
Transitional grades), published by Enoch.
Edwin Ashdown publish two books of Selected Pieces (some being
arrangements of songs, etc.). Danse Creole Op. 94, in six flats. This
is one of her best solos, and with its very attractive tango rhythm bass it will
appeal to all dance enthusiasts. Also in this volume is the appealing Contes
Bleues, Op.122, No.2, chordal, with melody in bass (6/4 tempo), and not at
all difficult. There are three other solos also. Book 2 with its fairly recent
photograph of Chaminade on the title page, has seven pieces, more varied
perhaps, and all fine numbers. An arrangement of her own for piano, of the
popular Sérénade Espagnole (played a great deal as a trio and violin
solo), The Silver Ring, a famous and well-loved song, also transcribed
for piano, a Scherzo Symphonique pas des Sylphes,
Madrigal and Chorale Les Noces D'Or and Ritournelle, form a
good, representative selection.
Enoch publish most of her music, and perhaps one of the loveliest is the
Interlude, Op. 152, a splendid essay with a very brilliant allegro middle
section (Transitional grade). By far one of the grandest miniatures I know.
Similar in style is the poignant Au Pays Dévasté, Op. 155, composed after
the last war( 1914-1918). Here is a true sincere picture of her beloved country
after war's havoc. A deeply moving composition, and one which will always
occupy a firm place in my affection. If Chaminade had written nothing except
this, it would entitle her to respect and admiration from all music lovers. A
companion piece is Op. 156, Berceuse du petit soldat blessé, with its
choral section interspersed with bugle calls, these having the last say, dying
away in the distance. Excellent!
Scaramouche, Op. 56, is a lively martial solo (one can trace passages
rather like the modern Poulenc in this). Middle section again has tango bass.
Marche Américaine (dedicated to Sousa), Op. 131,
is similar, rather more difficult. Most of Chaminade's music is
Transitional___Advanced, and prices vary from two shillings onwards.
Valses and Scherzos
As a writer of valses and scherzos Chaminade remains supreme. I have by me a
batch of valses, and can heartily recommend every one for their brilliance,
lightness and tunefulness. All need great finger dexterity. The 4th, Op. 91 is
mainly in double notes (six flats), and would make a fine encore number. This
also applies to the Valse Militaire, Op. 109, in C major and rather
easier; 2nd Valse, op. 77; 3rd Valse, Op.80; and Valse-Caprice,
op. 33. In the easier grades (and less brilliant), suitable for younger pupils,
there are Valse Romantique, Op. 115 (L.H. crossing over R.H.), an even
easier Valse-Ballet, Op. 112, and a very beautiful Valse Tendre,
Op. 119, the Air de Ballet, Op.30, Pas des Echarpes, Op. 37, and
Pas des Amphores, Op. 37. The latter two, being from the Callirhoe
ballet, are well known and require no comment. Recitalists on the look out for
good but neglected works cannot do better than give Scherzo and
Fileuse, both from the set of Concert Studies, Op. 35, a trial. The
Scherzo is difficult, but well worth studying, whilst Fileuse
gives plenty of rotary work and finger exercise for R.H.
Other etudes suitable for concert work include Op. 124 Etude Pathétique,
with L.H. crossing over R.H., many octave passages and bold chordal leaps. In
Etude Mélodique, Op. 118 (again six flats) semiquaver triplets accompany
a cantabile melody in R.H. Etude Symphonique, Op. 28
is difficult and
powerful, the L.H. having most of the work. Etude Humoristique, Op. 138,
is one of the very best. It provides both hands with plenty of work, and is
lighter (as the title would lead one to expect) than the previous studies.
Automne, from Op. 35
, is perhaps the best known of all Chaminade's work, and
together with the lovely Pierette, Op. 41, will keep her name before the
public for many years to come. Lovers of dance rhythms will revel in
Ecossaise, Op. 151 a sprightly staccato piece, nimble and fluent, with
plenty of variety in treatment; also La Morena, Op. 67, a Spanish
caprice, bright and airy. A great many of her solos are in the form of ancient
dances, and I would single out for special mention the early Minuetto,
Op. 23 (fairly easy), Piéce dans le style ancien, Op. 74 (a siciliano),
which contains more of her favourite device, crossing hands, a very charming
Passacaille, Op. 130, again fairly easy and straight forward, Gigue,
Op. 43, a difficult concert solo, full of vitality and containing first-class
piano writing (why do pianists ignore such excellent examples of healthy music),
an extremely difficult Danse Païenne, Op. 158, lengthy and rather
over-developed, but very interesting to try, even if only enjoy the "barbaric"
element, so foreign as a rule in her music, and lastly, Air à Danser, Op.
164, a warm and glowing piece, harmonically very interesting. I might mention
also the 4th and 5th Gavottes, Op. 149 and 162, the former being the
easier of the two.
Fine Selection
Of the three Preludes, Op. 84, my favourite is No. 2, a
wonderful broad melody, treated in a very ingenious manner. It makes the piano
"ring" with an intensity which is altogether admirable. And then we have the
great Toccata, Op.39, a real firework display, for those who can take it
presto. What lightning fingers are required for this! Yet another gem,
Divertissement, Op. 105, a splendid rhythmical number; also a collection of
six Romances Sans Paroles, Op. 76, of which at least one, the
Elevation, is known and loved. This indeed is a treasure store of good
things: the graceful Souvenance, with its flowing melody in bass, really
inspired, Idylle, Eglogue and Meditation, pieces to be played and
heard to appreciate to the full. I cannot praise them highly enough: all
pianists should try them.
Pastorale, a perfect little tone-poem, simple and sincere. No technical
difficulties here, no virtuosity for mere display, just a lovely musical message
from a true musician. Arabesque, Op. 61, prattles along in good humour,
and needs careful manipulation. Guitarre, Op. 32, Terpsichore,
Op. 81 (a lilting waltz in 3/8), Expansion, Op. 106, Chanson Russe,
Op. 98, Caprice Humoristique, Op. 113 (rather difficult), the broad
Cortège, Op. 143 (a majestic affair in 12/8 time, with its fugal
suggestion), Vert-Galant, Op. 85 (a delicate morsel), and Thème Varié,
Op. 89, can all be highly recommended. The list is endless, and one can always
be sure of gaining a winner by obtaining any work I have mentioned.
Ricordi's publish a few, including Arlequine, Op. 53, and La
Lisongera, Op.50, both fairly well known. The solitary Sonata,
Op. 21
(an early work) is hardly satisfactory, and it may seem strange that Chaminade
did not attempt this form again. I feel that sonata form was outside her
realm; but as most composers have ambitions to write at least one, we must
forgive her for attempting it. As a light composer of piano music,
Chaminade can never be beaten, and together with Moszkowski and Schutt, she will
always occupy a prominent place in the history of light music.
(Incidentally, the Sonata is dedicated to Moszkowski, to whom she was, I
believe, related by marriage.) Her excellent two-piano duets were reviewed
in my article on Duets in the issue for February, 1939.
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