Other articles where Romances sans paroles is discussed: Paul Verlaine: Life.: sketches for his next collection, Romances sans paroles (“Songs Without.
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His works for the piano are marked by a classical French lucidity; [6] he was unimpressed by pianistic display, commenting of keyboard virtuosi, "the greater they are, the worse they play me. The lyricism and complexity of his style in the s are evident in the Nocturnes nos. Finally, the stripped-down style of the final period informs the last nocturnes nos. The nocturnes, along with the barcarolles, are generally regarded as the composer's greatest piano works. They are lyrical, generally impassioned pieces, sometimes anguished or wholly elegiac. Nectoux rates the first nocturne as one of the best of the composer's early works.
In the third nocturne, Morrison notes that the composer's fondness for syncopation is at its gentlest, "nostalgia lit by passion. An expansive melody with syncopated left-hand accompaniment leads into a middle section in which a dolcissimo theme metamorphoses into bursts of passion.
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The first theme returns and is followed by a short coda. By contrast with its predecessor, the fifth nocturne is more animated, with unexpected shifts into remote keys. Cortot said, "There are few pages in all music comparable to these. A recapitulation of the principal theme takes the piece to its conclusion. The nocturne, the last piece in the set of eight, is shorter and less complex than its immediate predecessor, consisting of a song-like main theme with a delicate semiquaver accompaniment in the left hand. In contrast with the ninth, however, the tenth is darker and angrier.
The composer applies the A—B—A form less rigorously than in earlier nocturnes, and the opening bars of the piece recur intermittently throughout, eventually building to a fierce climax, described by Morrison as "a slow central climb There are deliberate dissonances and harmonic ambiguities that Pinkas describes as "taking tonality to its limit while still maintaining a single key. Nectoux writes that along with the sixth, it is "incontestably the most moving and inspired of the series.
Barcarolles were originally folk songs sung by Venetian gondoliers. His son Philippe recalled, "he would far rather have given his Nocturnes, Impromptus, and even his Barcarolles the simple title Piano Piece no. The first barcarolle was dedicated to the pianist Caroline de Serres Mme. The second barcarolle, dedicated to the pianist Marie Poitevin, [47] is a longer and more ambitious work than the first, with what Morrison calls an Italianate profusion of detail.
It opens with a simple phrase that is quickly elaborated into trills reminiscent of Chopin.
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The pianist Marguerite Long said that these ornaments "crown the theme like sea foam. One of the best-known of the set, [29] the fourth barcarolle is "tuneful, quite short, perhaps more direct than the others. Dedicated to Mme la Baronne V. Orledge calls it powerful, agitated and virile.
Koechlin brackets the sixth and seventh of the set together as a contrasting pair. Both pieces show "an economy of writing", the sixth "more moderate and tranquil in expression". Dedicated to Suzanne Alfred-Bruneau, [55] the eighth barcarolle opens in with a cheerful theme, which soon gives way to melancholy. The ninth barcarolle, in Koechlin's view, "recalls, as in a hazy remoteness, the happiness of the past". The last of the set is dedicated to Magda Gumaelius. Cortot compared the first impromptu to a rapid barcarolle, redolent of "sunlit water", combining "stylised coquetry and regret".
Dedicated to Mlle Sacha de Rebina, [55] the second impromptu maintains an airy tarantella rhythm. The third impromptu is the most popular of the set. His mature style is displayed in the central section, a contemplative andante , which is followed by a more agitated section that concludes the work. Nectoux describes this impromptu as "a piece of sheer virtuosity celebrating, not without humour, the beauties of the whole-tone scale.
The last work in the published set was written before numbers four and five. It was originally a harp piece, composed for a competition at the Paris Conservatoire in His is too orderly, too logical a mind to be really capricious.
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Chopin's influence is marked in the first two pieces. Orledge observes that the right-hand figuration at the end of No 1 is remarkably similar to that at the end of Chopin's Waltz in E minor. Orledge writes that the second two valses-caprices are subtler and better integrated than the first two; they contain "more moments of quiet contemplation and more thematic development than before.
Philippe Dieterlen, No 4 to Mme. They were not published until , but they then became some of his most popular works. Copland considered them immature pieces, which "should be relegated to the indiscretions every young composer commits. The theme is presented first in the higher and then in the middle register, before flowing evenly to its conclusion.
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The second romance, in A minor, an exuberant piece, has a strong semiquaver figure supporting the theme, and running high into the treble and low into the bass. After a lively display, the piece ends quietly.
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