Perspectives on the Performance of
French Piano Music
Edited by Scott McCarrey and Lesley A. Wright (Ashgate Publishing: Farnham, 2014)
Recorded examples: This set of performed examples allows readers to hear (and compare) performances and interpretations of the music discussed in Perspectives on the Performance of French Piano Music. Examples for Chapters 3, 5, and 8 (by Peter Hill, Richard Langham Smith, and Marilyn Nonken) are available commercially and detailed in the chapter footnotes.
- Chap. 4
- Ex. 4.1
- Ex. 4.2
- Ex. 4.3
- Ex. 4.4
- Ex. 4.5
- Ex. 4.6a
- Ex. 4.6b
- Ex. 4.7
- Ex. 4.8
- Ex. 4.9
- Ex. 4.10
- Suppl.
ex.
Part 1: How Composers Communicate
Chapter 1:
“Inside rather than under the composer's skin: another tilt at being authentic,” Roy Howat
The examples were originally presented as a keynote address at the conference “French Music: Performance and Analysis,” Brigham Young University-Hawai‘i, La‘ie, Hawai‘i, November 16, 2007.
Example 1.1: mp3 ogg
Schubert, Sonata in C Minor, D. 958, movement 4, bars 627–44 (Roy Howat, piano)
Example 1.2: mp3 ogg
Bach, “Gigue,” from Partita no. 6 in E Minor, BWV 830, bars 1–4 (Roy Howat, piano)
Example 1.3: mp3 ogg
Debussy, “La soirée dans Grenade” (Estampes), bars 1–9 (Roy Howat, piano)
Example 1.4: mp3 ogg
Debussy, “La soirée dans Grenade” (Estampes), bars 1–9 (Roy Howat, piano)
Example 1.5: mp3 ogg
Debussy, “La soirée dans Grenade” (Estampes), bars 33–38 (Roy Howat, piano)
Example 1.6: mp3 ogg
Mayerl, “Marigold,” bars 53–55 (Roy Howat, piano)
Chapter 2:
“Messiaen as pianist: a romantic in a modernist world,” Christopher Dingle
Example 2.1: mp3 ogg
Messiaen, “Louange à l’immortalité de Jésus,” movement 8 of Quatuor pour la fin du Temps, bar 9 (Olivier Messiaen (piano), with Jean Pasquier (violin), André Vacellier (clarinet), Étienne Pasquier (cello), rec. Schola Cantorum, 1956; Club Français du Disque—Musicdisc 30 RC 719; Record Society Ltd. RS 14; Accord 461 744-2)
Example 2.2: mp3 ogg
Messiaen, “Paysage,” movement 2 of Poèmes pour Mi, opening (Olivier Messiaen (piano), with Lise Arséguet (soprano), rec. 1964; Harmonia Mundi HMO 30.543; Everest 3269)
Example 2.3: mp3 ogg
Messiaen, “Amen du désir,” movement 4 of Visions de l’Amen, bars 71–73 (Olivier Messiaen (piano), with Yvonne Loriod (piano), rec. 1949, Contrepoint CO 1/2/3/4/5/6 (78rpm 6 sides); Dial dial 8; FMR FMRCD120-L0403; EMI France 0946 385275 2 7 (2 discs))
Example 2.4: mp3 ogg
Messiaen, “Amen du désir,” movement 4 of Visions de l’Amen, bars 71–73 (Olivier Messiaen (piano), with Yvonne Loriod (piano), rec. Paris, 1962; Véga 8.509; Vega 19 200 (3 LPs); Adès AD 13 233-2; Adès 203 142; Accord 465 791-2)
Example 2.5: mp3 ogg
Messiaen, “Montagnes,” movement 3 of Harawi, opening (Olivier Messiaen (piano), with Marcelle Bunlet (soprano), live rec. September 13, 1954, Grand Casino de Vichy, INA, mémoire vive IMV044)
Part 2: Teachers as the Conduit of the Composer’s Intent
Chapter 3:
“The genesis of Messiaen’s Catalogue d'oiseaux,” Peter Hill
Examples for Chapter 3 are available commercially and detailed in the chapter footnotes.
Chapter 4:
“A link to the French pianistic tradition: the teaching of Paul Doguereau,” David Korevaar
Recordings marked with an * (4.1, 4.2, 4.3, 4.4, 4.9) were originally recorded for the label Technichord but never released. They are made available here through the permission of Harrison Slater. Doguereau's recording of Ravel's Sonatine, movement 3, is also included as a supplemental example.
Example 4.1*: mp3 ogg
Ravel, Sonatine, movement 1, exposition (Paul Doguereau, piano)
Example 4.2–4: mp3 ogg
4.2*: Fauré, Third Barcarolle, [0'00"–0'15"] (Paul Doguereau, piano)
4.3*: Fauré, Third Barcarolle, [0'54"–1'14"] (Paul Doguereau, piano)
4.4*: Fauré, Third Barcarolle, [1'32"–1'55"] (Paul Doguereau, piano)
Example 4.5–6a: mp3 ogg
4.5: Debussy, “Hommage à Rameau” (Images, 1905), [bars 1–4; 0'00"–0'14"] (David Korevaar, piano)
4.6a: Debussy, “Hommage à Rameau” (Images, 1905), [bars 31–34; 2'01"–2'21"] (David Korevaar, piano)
Example 4.6b: mp3 ogg
Ravel, “Le gibet” (Gaspard de la nuit), bars 1–7 (David Korevaar, piano)
Example 4.7–8: mp3 ogg
4.7: Debussy, “Reflets dans l’eau” (Images, 1905), bars 65–67, [begins at 2'51"] (David Korevaar, piano)
4.8: Debussy, “Reflets dans l’eau” (Images, 1905), bars 81–94, [from 3'44"] (David Korevaar, piano)
Example 4.9*: mp3 ogg
Ravel, Sonatine, movement 2: retransition [1'22"–1'45"] (Paul Doguereau, piano)
Example 4.10: mp3 ogg
Fauré, Sixth Nocturne, bars 1–18 (David Korevaar, piano)
Supplemental example: mp3 ogg
Ravel, Sonatine, movement 3 (Paul Doguereau, piano)
Part 3: Historical Resources
Chapter 5:
“Style, performance practice, and reception in the Prelude, Chorale
and Fugue: placing and performing César Franck,” Richard Langham Smith
Examples for Chapter 5 are available commercially and detailed in the chapter footnotes.
Chapter 6:
“Players and pianos: an overview of early recorded resources for the French piano repertoire,” Christopher Dingle
Example 6.1: mp3 ogg
Chabrier, “Scherzo-Valse (Pièces pittoresques),” final twenty seconds (Raoul Pugno (piano), rec. November 1903, Paris, Gramophone & Typewriter 035503 (matrix no. 2564F); Appian Publications & Recordings (2001) 5532 (The Piano G & Ts Volume 2))
Example 6.2: mp3 ogg
“Ondine” (Gaspard de la nuit), opening (Walter Gieseking (piano), rec. 1924?, Freiburg, Welte-Mignon Piano Roll no. 3831. Reproduced, Naxos 8.110677 (Welte-Mignon Piano Rolls 1))
Example 6.3: mp3 ogg
Ravel, “Ondine” (Gaspard de la nuit), opening (Walter Gieseking (piano), rec. January 1937, London, Abbey Road Studios (movt. 1), Berlin, August 1938 (movts. 2 and 3), HMV LX632/772/813 (matrix nos. CAZ 7290; CRX 91-2); Pearl GEMM CD 9449 (Walter Gieseking, Debussy/Ravel))
Part 4: Using Analysis for Informed Performances
Chapter 7:
“Florent Schmitt and Maurice Ravel: measured time from the turn of the century,” Scott McCarrey
Example 7.1: mp3 ogg
Ravel, “Alborada del gracioso” (Miroirs), bars 1–70 (Scott McCarrey, piano)
Example 7.2: mp3 ogg
Ravel, “La vallée des cloches” (Miroirs), bars 42–end (Scott McCarrey, piano)
Example 7.3: mp3 ogg
Ravel, “La vallée des cloches” (Miroirs), pickup of bar 16 to fade out of bar 28 (Scott McCarrey, piano)
Example 7.4: mp3 ogg
Ravel, “La vallée des cloches” (Miroirs), bar 1 to fade out of bar 13 (Scott McCarrey, piano)
Supplemental example: mp3 ogg
Schmitt, “Sur un vieux petit cimetière” (Crépuscules), first performance [0'00"–5'19.30"] (Scott McCarrey, piano), rec. November 15, 2007, “French Music: Performance and Analysis” conference, Brigham Young University-Hawai‘i, La‘ie, Hawai‘i, November 15, 2007.
Chapter 8:
“Messiaen to Murail, or, what sounds become,” Marilyn Nonken
Examples for Chapter 8 are available commercially and detailed in the chapter footnotes.
About the Editors
Scott McCarrey is Professor of Piano at Brigham Young University-Hawai‘i. His doctorate at York University, UK, was focused on the performance and analysis of Ravel, an interest which led him to co-organize, along with Lesley A. Wright and Roy Howat, the 2007 conference entitled “French Music: Performance and Analysis.”
Lesley A. Wright is a Professor of Musicology at the University of Hawai‘i at Manoa. Throughout her career she has focused on Bizet, Massenet and their contemporaries, French opera, the Parisian press, and the institutions that supported the careers of French musicians.
Website created by Don Colton, Professor of Computing and Information Sciences, Brigham Young University-Hawai‘i.
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