June 20 Charles Richard-Hamelin
Program notes
Claude Debussy – Suite bergamasque
Debussy’s Suite bergamasque is a cornerstone of French Impressionist piano literature, beloved for its shimmering colours and evocative moods. Though published in 1905, the suite’s origins trace back to 1890, when Debussy was still finding his unique musical voice. The title references the “bergamasque,” a rustic dance from Bergamo, Italy, and also nods to the poetry of Paul Verlaine, whose verses inspired Debussy’s fascination with moonlit reverie and masked festivity.
The suite unfolds in four movements, each painting a distinct scene:
Prélude
The opening movement bursts forth with energy and rhythmic drive. Its cascading arpeggios and bold harmonies immediately immerse the listener in Debussy’s world—a place where traditional forms are transformed by subtle shifts in colour and mood. The music is both exuberant and refined, setting the stage for the suite’s journey.
Menuet
Debussy’s “Menuet” is a gentle parody of the classical dance. Rather than stately grandeur, Debussy offers a delicate, almost antique elegance, adorned with unexpected harmonies and fleeting, ornamental gestures. The middle section, with its more intimate tone, provides a lyrical contrast before the dance resumes.
Clair de lune
The suite’s most famous movement, “Clair de lune” (“Moonlight”), is a masterpiece of poetic atmosphere. Inspired by Verlaine’s poem of the same name, Debussy conjures a nocturnal landscape of shimmering light and shadow. The music ebbs and flows with gentle rubato, its tender melody floating above a rippling accompaniment. “Clair de lune” has become an emblem of Impressionism, celebrated for its ability to evoke profound emotion with the subtlest means.
Passepied
The finale, “Passepied,” is a lively, quicksilver dance, notable for its rhythmic playfulness and sparkling textures. The movement’s perpetual motion and bright sonorities bring the suite to a buoyant close, leaving the listener with a sense of lightness and joy.
Suite bergamasque exemplifies Debussy’s genius for creating music that is at once sensuous, mysterious, and deeply evocative—a perfect opening to this recital.
Maurice Ravel – Sonatine
Ravel’s Sonatine, composed between 1903 and 1905, is a model of classical clarity and French elegance. Though Ravel began the piece for a magazine competition (which required the first movement to fit within 75 measures), he soon expanded it into a full three-movement work, refining every detail with his characteristic precision.
I. Modéré
The first movement is a marvel of economy and lyricism. Ravel’s themes are memorable and concise, developed with subtle harmonic shifts and transparent textures. The movement’s sonata form is handled with a light touch, and the interplay between voices creates a sense of conversation rather than confrontation. Ravel’s use of modal inflections and delicate ornamentation gives the music a distinctly French flavour.
II. Mouvement de menuet
The second movement is a modern take on the baroque minuet. Here, Ravel blends nostalgia with innovation: the dance’s triple meter and graceful contours evoke the past, while unexpected harmonies and rhythmic nuances point to the future. The middle section introduces a more introspective mood, before the opening material returns, transformed by subtle changes in colour and texture.
III. Animé
The finale is a whirlwind of energy and virtuosity. Marked by rapid figurations, shifting meters, and sparkling runs, the movement showcases Ravel’s flair for orchestral sonority at the keyboard. Despite its technical demands, the music never loses its poise or clarity. The exhilarating coda brings the Sonatine to a dazzling conclusion.
Ravel’s Sonatine stands as a testament to his ability to marry classical form with modern sensibility, offering both intellectual satisfaction and sensual delight.
Francis Poulenc – Suite Napoli, FP 40
Francis Poulenc’s Suite Napoli is a vibrant, witty homage to Italy, composed in 1925 after the composer’s visit to Naples. Poulenc, a member of the French group Les Six, was known for his irreverent humour, melodic charm, and ability to blend influences from popular music, cabaret, and the classical tradition. In Suite Napoli, these qualities shine through in three characterful movements:
Barcarolle
The suite opens with a gentle “Barcarolle,” evoking the image of gondoliers singing as they glide across the Bay of Naples. Poulenc’s rippling accompaniment and lyrical melody create a sense of floating tranquillity, but with a distinctly French twist—his harmonies are unexpected, and the mood is both affectionate and slightly tongue-in-cheek.
Nocturne
The central “Nocturne” is brief but enchanting. Poulenc weaves together short melodic fragments, creating an atmosphere that is dreamlike and subtly surreal. The music hints at the world of the Parisian salon, with its elegance and intimacy, while also conjuring the languorous warmth of a southern night.
Caprice Italien
The final movement, “Caprice Italien,” is a riot of color and rhythm. Poulenc draws on the vitality of Neapolitan street life with exuberant melodies, percussive chords, and playful syncopations. The movement’s dazzling virtuosity and irrepressible spirit bring the suite—and the first half of the recital—to a sparkling close.
Suite Napoli is quintessential Poulenc: sophisticated yet approachable, witty yet sincere, and always irresistibly melodic.
Frédéric Chopin – Four Scherzos
Chopin’s four Scherzos, composed over a span of more than a decade, are among the most dramatic and technically demanding works in the Romantic piano repertoire. The term “scherzo” (Italian for “joke”) is here transformed: rather than lighthearted trifles, Chopin’s Scherzos are epic in scale and deeply expressive, exploring the full range of human emotion.
Scherzo No. 1 in B minor, Op. 20
Written in the early 1830s, at a time of personal and political turmoil for Chopin, the first Scherzo is a work of dark intensity. It opens with a bold, almost shocking gesture—fortissimo chords and rapid, agitated runs—immediately plunging the listener into a world of unrest. The middle section offers a poignant contrast: a serene melody based on a Polish Christmas carol, “Lulajże Jezuniu,” evokes nostalgia and longing for Chopin’s homeland. The return of the opening material brings the piece to a tumultuous close, leaving an impression of unresolved tension.
Scherzo No. 2 in B-flat minor, Op. 31
The second Scherzo, composed in Paris, is perhaps the most popular of the set. It begins with a mysterious, whispered question in the low register, followed by a passionate, sweeping answer. This dialogue sets the tone for a work of striking contrasts: stormy outbursts alternate with passages of lyrical beauty. The radiant D-flat major middle section is especially beloved for its singing, bel canto-like melody. The return of the dramatic opening material and a virtuosic coda bring the piece to an electrifying finish.
Scherzo No. 3 in C-sharp minor, Op. 39
Composed during Chopin’s stay in Mallorca, the third Scherzo is the most concise and tightly structured of the four. Its opening is marked by rhythmic drive and harmonic boldness, leading to a majestic, chorale-like central section in D-flat major. This passage, with its noble character and rich sonorities, offers a moment of spiritual reflection before the tempestuous energy of the opening returns. The work’s dramatic arc and concentrated power make it a favorite among pianists and audiences alike.
Scherzo No. 4 in E major, Op. 54
The final Scherzo, written in the relative calm of Nohant, stands apart for its luminous, almost playful character. Unlike its predecessors, it is cast in a major key and features a more intricate, rondo-like structure. The opening theme is light and capricious, while the contrasting episodes introduce rustic, dance-like motifs. Throughout, Chopin’s inventive use of texture, rhythm, and harmony keeps the listener engaged, culminating in a brilliant coda that brings the cycle to a joyful close.
Together, Chopin’s Scherzos form a monumental journey through the Romantic imagination, by turns turbulent, lyrical, heroic, and radiant. Each is a world unto itself, offering a glimpse into the composer’s deepest feelings and unparalleled mastery of the piano.
Debussy’s Suite bergamasque is a cornerstone of French Impressionist piano literature, beloved for its shimmering colours and evocative moods. Though published in 1905, the suite’s origins trace back to 1890, when Debussy was still finding his unique musical voice. The title references the “bergamasque,” a rustic dance from Bergamo, Italy, and also nods to the poetry of Paul Verlaine, whose verses inspired Debussy’s fascination with moonlit reverie and masked festivity.
The suite unfolds in four movements, each painting a distinct scene:
Prélude
The opening movement bursts forth with energy and rhythmic drive. Its cascading arpeggios and bold harmonies immediately immerse the listener in Debussy’s world—a place where traditional forms are transformed by subtle shifts in colour and mood. The music is both exuberant and refined, setting the stage for the suite’s journey.
Menuet
Debussy’s “Menuet” is a gentle parody of the classical dance. Rather than stately grandeur, Debussy offers a delicate, almost antique elegance, adorned with unexpected harmonies and fleeting, ornamental gestures. The middle section, with its more intimate tone, provides a lyrical contrast before the dance resumes.
Clair de lune
The suite’s most famous movement, “Clair de lune” (“Moonlight”), is a masterpiece of poetic atmosphere. Inspired by Verlaine’s poem of the same name, Debussy conjures a nocturnal landscape of shimmering light and shadow. The music ebbs and flows with gentle rubato, its tender melody floating above a rippling accompaniment. “Clair de lune” has become an emblem of Impressionism, celebrated for its ability to evoke profound emotion with the subtlest means.
Passepied
The finale, “Passepied,” is a lively, quicksilver dance, notable for its rhythmic playfulness and sparkling textures. The movement’s perpetual motion and bright sonorities bring the suite to a buoyant close, leaving the listener with a sense of lightness and joy.
Suite bergamasque exemplifies Debussy’s genius for creating music that is at once sensuous, mysterious, and deeply evocative—a perfect opening to this recital.
Maurice Ravel – Sonatine
Ravel’s Sonatine, composed between 1903 and 1905, is a model of classical clarity and French elegance. Though Ravel began the piece for a magazine competition (which required the first movement to fit within 75 measures), he soon expanded it into a full three-movement work, refining every detail with his characteristic precision.
I. Modéré
The first movement is a marvel of economy and lyricism. Ravel’s themes are memorable and concise, developed with subtle harmonic shifts and transparent textures. The movement’s sonata form is handled with a light touch, and the interplay between voices creates a sense of conversation rather than confrontation. Ravel’s use of modal inflections and delicate ornamentation gives the music a distinctly French flavour.
II. Mouvement de menuet
The second movement is a modern take on the baroque minuet. Here, Ravel blends nostalgia with innovation: the dance’s triple meter and graceful contours evoke the past, while unexpected harmonies and rhythmic nuances point to the future. The middle section introduces a more introspective mood, before the opening material returns, transformed by subtle changes in colour and texture.
III. Animé
The finale is a whirlwind of energy and virtuosity. Marked by rapid figurations, shifting meters, and sparkling runs, the movement showcases Ravel’s flair for orchestral sonority at the keyboard. Despite its technical demands, the music never loses its poise or clarity. The exhilarating coda brings the Sonatine to a dazzling conclusion.
Ravel’s Sonatine stands as a testament to his ability to marry classical form with modern sensibility, offering both intellectual satisfaction and sensual delight.
Francis Poulenc – Suite Napoli, FP 40
Francis Poulenc’s Suite Napoli is a vibrant, witty homage to Italy, composed in 1925 after the composer’s visit to Naples. Poulenc, a member of the French group Les Six, was known for his irreverent humour, melodic charm, and ability to blend influences from popular music, cabaret, and the classical tradition. In Suite Napoli, these qualities shine through in three characterful movements:
Barcarolle
The suite opens with a gentle “Barcarolle,” evoking the image of gondoliers singing as they glide across the Bay of Naples. Poulenc’s rippling accompaniment and lyrical melody create a sense of floating tranquillity, but with a distinctly French twist—his harmonies are unexpected, and the mood is both affectionate and slightly tongue-in-cheek.
Nocturne
The central “Nocturne” is brief but enchanting. Poulenc weaves together short melodic fragments, creating an atmosphere that is dreamlike and subtly surreal. The music hints at the world of the Parisian salon, with its elegance and intimacy, while also conjuring the languorous warmth of a southern night.
Caprice Italien
The final movement, “Caprice Italien,” is a riot of color and rhythm. Poulenc draws on the vitality of Neapolitan street life with exuberant melodies, percussive chords, and playful syncopations. The movement’s dazzling virtuosity and irrepressible spirit bring the suite—and the first half of the recital—to a sparkling close.
Suite Napoli is quintessential Poulenc: sophisticated yet approachable, witty yet sincere, and always irresistibly melodic.
Frédéric Chopin – Four Scherzos
Chopin’s four Scherzos, composed over a span of more than a decade, are among the most dramatic and technically demanding works in the Romantic piano repertoire. The term “scherzo” (Italian for “joke”) is here transformed: rather than lighthearted trifles, Chopin’s Scherzos are epic in scale and deeply expressive, exploring the full range of human emotion.
Scherzo No. 1 in B minor, Op. 20
Written in the early 1830s, at a time of personal and political turmoil for Chopin, the first Scherzo is a work of dark intensity. It opens with a bold, almost shocking gesture—fortissimo chords and rapid, agitated runs—immediately plunging the listener into a world of unrest. The middle section offers a poignant contrast: a serene melody based on a Polish Christmas carol, “Lulajże Jezuniu,” evokes nostalgia and longing for Chopin’s homeland. The return of the opening material brings the piece to a tumultuous close, leaving an impression of unresolved tension.
Scherzo No. 2 in B-flat minor, Op. 31
The second Scherzo, composed in Paris, is perhaps the most popular of the set. It begins with a mysterious, whispered question in the low register, followed by a passionate, sweeping answer. This dialogue sets the tone for a work of striking contrasts: stormy outbursts alternate with passages of lyrical beauty. The radiant D-flat major middle section is especially beloved for its singing, bel canto-like melody. The return of the dramatic opening material and a virtuosic coda bring the piece to an electrifying finish.
Scherzo No. 3 in C-sharp minor, Op. 39
Composed during Chopin’s stay in Mallorca, the third Scherzo is the most concise and tightly structured of the four. Its opening is marked by rhythmic drive and harmonic boldness, leading to a majestic, chorale-like central section in D-flat major. This passage, with its noble character and rich sonorities, offers a moment of spiritual reflection before the tempestuous energy of the opening returns. The work’s dramatic arc and concentrated power make it a favorite among pianists and audiences alike.
Scherzo No. 4 in E major, Op. 54
The final Scherzo, written in the relative calm of Nohant, stands apart for its luminous, almost playful character. Unlike its predecessors, it is cast in a major key and features a more intricate, rondo-like structure. The opening theme is light and capricious, while the contrasting episodes introduce rustic, dance-like motifs. Throughout, Chopin’s inventive use of texture, rhythm, and harmony keeps the listener engaged, culminating in a brilliant coda that brings the cycle to a joyful close.
Together, Chopin’s Scherzos form a monumental journey through the Romantic imagination, by turns turbulent, lyrical, heroic, and radiant. Each is a world unto itself, offering a glimpse into the composer’s deepest feelings and unparalleled mastery of the piano.
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