Work Overview

• Publication Year: 1950
• First Publisher: Editions Mondia
• Instrumentation: Piano Solo
• Total Performance Time: Approximately 2.5 minutes

The ballet music La Croqueuse de Diamants (Op. 18), commissioned by Roland Petit, is considered one of Damase's representative early works. With a formidable lineup including choreography by Petit and Alfred Adam, starring Zizi Jeanmaire, stage design by Georges Wakhevitch, and costume design participation from Yves Saint Laurent and Christian Dior, the work premiered to great acclaim on September 25, 1950, at the Théâtre Marigny in Paris by the Ballets de Paris, with the composer himself conducting. The light and elegant music, befitting a thrilling plot that interweaves romance and action with a female bandit leader as the protagonist, showcases Damase's youthful wit to the fullest. At that time, Petit had resigned from his official position at the Opéra and was beginning his independent activities. In a situation where commercial failure was not an option, the fact that the 22-year-old Damase was chosen as the composer for the new work, bypassing many formidable rivals, is testament to the burgeoning momentum of the rising Damase. The chanson sung by Jeanmaire in the play (lyrics by Raymond Queneau) also became a hit.

From the ballet music, Damase himself arranged an orchestral suite, instrumental pieces, and chansons, which were published by Editions Mondia. The Toccata, dedicated to Jack Claus, is a virtuosic showpiece. It was likely conceived with the performance of Damase himself, who established an era as a pianist at the time, in mind. In 2/4 time, G major, Allegro. While the piece generally employs Damase's conventional compositional style and progresses in a single sweep, it is highly intricate with frequent rapid leaps and clashes, and requires the performer to sing long, sustained melodies with full resonance. It is even more challenging to express its esprit joyfully and with the ease of an acrobat. It can be considered a difficult piece comparable to Ravel's Toccata (from Le Tombeau de Couperin, No. 6) or Pierre Sancan's Toccata. The cover illustration of the published score (drawn by Ch. Kiffer), depicting Petit and Jeanmaire on stage, evokes the rich lingering scent of the good old Belle Époque. Since then, many years have passed, and following Petit (2011) and Damase (2013), Jeanmaire also passed away in 2020. One is inevitably made to feel the passage of time.