Trois morceaux dans le genre pathétique
Encyclopedia
Trois morceaux dans le genre pathétique (Three Pieces in the Pathetic Style) is a 3 movement suite
for piano
composed by the French
composer, Charles-Valentin Alkan
, published in 1837. The suite also bears the title Souvenirs (Memories). The 3 movements are Aime-moi (Love Me), Le vent (The Wind), and Morte (Death).
s, and arpeggio
s. The first theme is similar of that to Chopin's style. Between the beginning of the piece and the climax, the subdivision of the beat gradually increases. At first, the beat is based on quavers. It then goes into triplets, or three notes per beat, and then semiquavers, or four notes per beat, and then five, and then six, and then seven, and then finally eight where the movement climaxes emotionally (and academically, because there is no more increase in the subdivisions of the beat after this moment). After this climax, the main theme recapitulates, but is soon succeeded by a more intense melody in octaves along with triplet semiquavers in the left hand (this shows how Alkan kept the amount of intensity/anxiety in the music directly proportionate with the amount of subdivision of the beat). The music then relaxes into a seemingly carefree free flow of semiquavers alternating by groups of two in the right and left hands. Very much like music from the Baroque
era or the development of a classical sonata, but in a very romantic manner, the melody is sequenced. In one particular spot, there is a melody that is very similar to a part of Alkan's Grand Etude Op. 76 No. 3, "Hands Reunited" published just one year later in 1838. The music flows into the higher register and a small descending followed by a small ascending arpeggio seem to conclude the piece. However, Alkan adds one more tiny mysterious and almost magical flourish before finally ending the movement in A flat major, the parallel major of the original key signature.
Le vent is in B minor. The piece contains chromatic scales throughout, except for the middle portion, which introduces the second theme. These chromatic scales include a 2 page transition, completely composed of dual chromatic scales sweeping the span of most of the keyboard. The notation of the chromatic scales is unusual, ranging from twelve 32nd notes to twenty grouped to be a quarter note. The first theme clearly represents the wind, with a sad extended chords superimposed by languid chromatics. The second theme is in a major key, and features sweeps for the left hand while the right performs the melody in octaves (quoting the Allegretto of Beethoven's Seventh Symphony
) with tremolos played within. Then the first theme returns fiercely with tremolos instead of chords for the left hand. Surprisingly, after chilling chromatic scales deep in the bass register, the piece ends with one final light ascending chromatic scale and a B major chord (a Picardy third).
Morte, in E flat minor, quotes the Gregorian chant
of Dies Irae
. The piece is the longest of the three, and features difficult, dense chord passages, sixths, trills, tremolos and repeated notes. In part of the piece, there is a constant tolling of a B flat in a very similar way as Ravel's "Le Gibet" from "Gaspard de la Nuit
" composed over 70 years later. Near the end, there is a very passionate and intense buildup that leads to quick short chords similar to the final part of Chopin's Ballade No. 4 in F minor right before the coda. The piece ends by quoting the "Aime-Moi" theme, some chromatic scales very similar to those in "Le Vent" and finally concludes very abruptly with a long trill and two short 16th note chords.
, who wrote:
Franz Liszt, to whom this set was dedicated to [2], received them much more warmly than Schumann did, saying that they were "read and re-read many a time since the day when they brought me such great joy. These are compositions which could not be more distinguished and, all friendly prejudice aside, are likely to excite the deep interest of musicians." [3]
and Robert Rivard.
Suite
In music, a suite is an ordered set of instrumental or orchestral pieces normally performed in a concert setting rather than as accompaniment; they may be extracts from an opera, ballet , or incidental music to a play or film , or they may be entirely original movements .In the...
for piano
Piano
The piano is a musical instrument played by means of a keyboard. It is one of the most popular instruments in the world. Widely used in classical and jazz music for solo performances, ensemble use, chamber music and accompaniment, the piano is also very popular as an aid to composing and rehearsal...
composed by the French
French people
The French are a nation that share a common French culture and speak the French language as a mother tongue. Historically, the French population are descended from peoples of Celtic, Latin and Germanic origin, and are today a mixture of several ethnic groups...
composer, Charles-Valentin Alkan
Charles-Valentin Alkan
Charles-Valentin Alkan was a French composer and one of the greatest virtuoso pianists of his day. His attachment to his Jewish origins is displayed both in his life and his work. He entered the Paris Conservatoire at the age of six, earning many awards, and as an adult became a famous virtuoso...
, published in 1837. The suite also bears the title Souvenirs (Memories). The 3 movements are Aime-moi (Love Me), Le vent (The Wind), and Morte (Death).
Description
Aime-moi, in A flat minor, features repeated chords, tremoloTremolo
Tremolo, or tremolando, is a musical term that describes various trembling effects, falling roughly into two types. The first is a rapid reiteration...
s, and arpeggio
Arpeggio
An arpeggio is a musical technique where notes in a chord are played or sung in sequence, one after the other, rather than ringing out simultaneously...
s. The first theme is similar of that to Chopin's style. Between the beginning of the piece and the climax, the subdivision of the beat gradually increases. At first, the beat is based on quavers. It then goes into triplets, or three notes per beat, and then semiquavers, or four notes per beat, and then five, and then six, and then seven, and then finally eight where the movement climaxes emotionally (and academically, because there is no more increase in the subdivisions of the beat after this moment). After this climax, the main theme recapitulates, but is soon succeeded by a more intense melody in octaves along with triplet semiquavers in the left hand (this shows how Alkan kept the amount of intensity/anxiety in the music directly proportionate with the amount of subdivision of the beat). The music then relaxes into a seemingly carefree free flow of semiquavers alternating by groups of two in the right and left hands. Very much like music from the Baroque
Baroque
The Baroque is a period and the style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, literature, dance, and music...
era or the development of a classical sonata, but in a very romantic manner, the melody is sequenced. In one particular spot, there is a melody that is very similar to a part of Alkan's Grand Etude Op. 76 No. 3, "Hands Reunited" published just one year later in 1838. The music flows into the higher register and a small descending followed by a small ascending arpeggio seem to conclude the piece. However, Alkan adds one more tiny mysterious and almost magical flourish before finally ending the movement in A flat major, the parallel major of the original key signature.
Le vent is in B minor. The piece contains chromatic scales throughout, except for the middle portion, which introduces the second theme. These chromatic scales include a 2 page transition, completely composed of dual chromatic scales sweeping the span of most of the keyboard. The notation of the chromatic scales is unusual, ranging from twelve 32nd notes to twenty grouped to be a quarter note. The first theme clearly represents the wind, with a sad extended chords superimposed by languid chromatics. The second theme is in a major key, and features sweeps for the left hand while the right performs the melody in octaves (quoting the Allegretto of Beethoven's Seventh Symphony
Symphony No. 7 (Beethoven)
Ludwig van Beethoven's Symphony No. 7 in A major, Op. 92, in 1811, was the seventh of his nine symphonies. He worked on it while staying in the Bohemian spa town of Teplice in the hope of improving his health. It was completed in 1812, and was dedicated to Count Moritz von Fries.At its debut,...
) with tremolos played within. Then the first theme returns fiercely with tremolos instead of chords for the left hand. Surprisingly, after chilling chromatic scales deep in the bass register, the piece ends with one final light ascending chromatic scale and a B major chord (a Picardy third).
Morte, in E flat minor, quotes the Gregorian chant
Gregorian chant
Gregorian chant is the central tradition of Western plainchant, a form of monophonic liturgical music within Western Christianity that accompanied the celebration of Mass and other ritual services...
of Dies Irae
Dies Irae
Dies Irae is a thirteenth century Latin hymn thought to be written by Thomas of Celano . It is a medieval Latin poem characterized by its accentual stress and its rhymed lines. The metre is trochaic...
. The piece is the longest of the three, and features difficult, dense chord passages, sixths, trills, tremolos and repeated notes. In part of the piece, there is a constant tolling of a B flat in a very similar way as Ravel's "Le Gibet" from "Gaspard de la Nuit
Gaspard de la nuit
Gaspard de la nuit: Trois poèmes pour piano d'après Aloysius Bertrand is a piece for solo piano by Maurice Ravel, written in 1908. It has three movements, each based on a poem by Aloysius Bertrand...
" composed over 70 years later. Near the end, there is a very passionate and intense buildup that leads to quick short chords similar to the final part of Chopin's Ballade No. 4 in F minor right before the coda. The piece ends by quoting the "Aime-Moi" theme, some chromatic scales very similar to those in "Le Vent" and finally concludes very abruptly with a long trill and two short 16th note chords.
Reception
The pieces received a virulent review from Robert SchumannRobert Schumann
Robert Schumann, sometimes known as Robert Alexander Schumann, was a German composer, aesthete and influential music critic. He is regarded as one of the greatest and most representative composers of the Romantic era....
, who wrote:
It has a considerable flavour of SueEugène SueJoseph Marie Eugène Sue was a French novelist.He was born in Paris, the son of a distinguished surgeon in Napoleon's army, and is said to have had the Empress Joséphine for godmother. Sue himself acted as surgeon both in the Spanish campaign undertaken by France in 1823 and at the Battle of Navarino...
and Sand. One is startled by such false, unnatural art [...] We always make allowances for erring talent [...] but when nothing is to be found but black on black, we turn away in discouragement
Franz Liszt, to whom this set was dedicated to [2], received them much more warmly than Schumann did, saying that they were "read and re-read many a time since the day when they brought me such great joy. These are compositions which could not be more distinguished and, all friendly prejudice aside, are likely to excite the deep interest of musicians." [3]
Recordings
Recordings of the Trois morceaux have been made by Marc-André HamelinMarc-André Hamelin
Marc-André Hamelin, OC, CQ, is a French Canadian virtuoso pianist and composer.Born in Montreal, Quebec, Marc-André Hamelin began his piano studies at the age of five. His father, a pharmacist by trade who was also a pianist, introduced him to the works of Alkan, Godowsky, and Sorabji when he was...
and Robert Rivard.
Score
Performances
- A video that features a recording by Marc-André Hamelin. However, the video cuts off the latter half of the piece.