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Home > Clergue, Jean > Danse rustique

Clergue, Jean : Danse rustique

Work Overview

Music ID : 65598
Instrumentation：Piano Solo　
Genre：Various works
Total Playing Time：0 min 50 sec
Copyright：Under Copyright Protection
pieces
Piano Solo
piano solo

Commentary (2)

Author : Ooi, Kazurou

Last Updated: June 17, 2024
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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

This piece can be considered very optimistic, with a peaceful flow of time, devoid of any profound seriousness. For instance, measures 1-4 and 5-8 can be imagined as a conversation between two people, though a solo interpretation is also valid. However, it is crucial to understand the harmony of this piece and to imagine, from the chords and melody, what emotions the composer might have felt in each section.

For example, measures 1-4 are filled with a very stable and happy mood, followed by measures 5-8, which convey a certain unease or loneliness. Measures 9-12 then repeat the same melodic idea, leading to measures 13-16, which introduce a sense of anticipation. It is important for the performer to discuss with their teacher and imagine the mood of each section, and then to play with those emotions in mind. This approach will naturally guide the dynamics.

Rather than a piece intended for actual dancing, it can be considered a mental depiction of imagining or recalling a dance.

Writer: Ooi, Kazurou

Author : Kumamoto, Ryohei

Last Updated: November 28, 2024
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

The musical structure is in ternary form:

  • A [a (measures 1-8) + a1 (measures 9-16)]
  • B [b (measures 17-28)]
  • A [a (measures 29-36) + a2 (measures 37-45)]

A major characteristic of the theme is that while there is not much movement on a measure-by-measure basis, when multiple measures are viewed as a block, the phrase begins with an ascending progression and eventually concludes with a descending shape. Although it broadly forms a mountain shape, combined with the bright sound of the tonic key G major, the gentle ascending progression at the beginning conveys a simple and positive expression. This is reminiscent of anabasis, a type of figure from the Baroque era. Anabasis, meaning "ascent" in Greek, represents positive expressions such as joy and hope in music.

Appoggiaturas are frequently used in the thematic melody. Could this be a unique undulation from folk songs, or perhaps the chirping of birds in the countryside? Furthermore, in the accompaniment, a perfect fifth is placed on the starting note, a usage often found in Chopin's Mazurkas and Bartók's folk-inspired works, where the stark sound of the perfect interval enhances the power of folk music. These various traces written in the score evoke diverse scenes, so when practicing this piece, it would be beneficial to let your imagination roam freely, wondering what these distinctive characteristics might signify.

Upon entering the B section, the music modulates to the relative minor, E minor. The melodic line becomes shorter, contrasting with the broader movements of the A section. As it is a repetitive section, it actually involves a very long cadence, repeating IV→V within a single harmonic progression. It would be advisable to play with an awareness of the horizontal flow, rather than cutting off the ends of the slurs abruptly.

Writer: Kumamoto, Ryohei
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