A symbiosis between the art of the poet and of the composer, the French mélodie became the jewel in the crown of “Belle Époque” music in all Parisian salons between 1870 and 1914. Gradually turning its attention to the symphonic concert hall, the genre also took on the colours of the orchestra thanks to the talent of Duparc, Saint-Saëns and Debussy.
But, curiously, between the simple piano accompaniment and the vast symphonic ensemble, only a few works have taken advantage of the richness and variety of chamber music. Chausson’s Chanson perpétuelle, Lekeu’s Nocturne and Fauré’s cycle La Bonne Chanson combine the art of mélodie and that of the piano quintet in an ensemble whose colours oscillate between intimacy and orchestral ambitions. These pioneering pages, isolated in the history of music, have acquired a fame that has never been denied.
The programme proposed by the Palazzetto Bru Zane, with the collaboration of Véronique Gens and the ensemble I Giardini, experiments with the art of transcription applied to the artist’s favourite repertoire. Alongside the three works mentioned above, pieces by famous composers (Berlioz, Saint-Saëns, Fauré, Massenet) stand alongside unknown works (Hahn, La Tombelle, Ropartz, Widor) to trace the emotions of a nocturnal atmosphere: the charm of love, the journey of a dream or the terror of a nightmare. The sentimental journey is coloured by the instrumental movements of piano quintets. And the journey takes a few detours along unexpected paths…
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