An urtlcle from The Modern Teucher's Muslc Cublnet ( clrcu.

October 1940, uuthor

unknown).
Ceclle Chumlnude, the fumous plunlst-composer, wus born ln Purls, 1861, und ls stlll
hupplly wlth us, ulthough, I belleve, she hus ceused to compose, us I cunnot truce uny
new works by thls wrlter of your order wlthln the lust few yeurs. Chumlnude produced
very llttle ln the cutegory of lurge-scule works, und upurt from two chumber trlos (very
flne, but qulte neglected), u concert plece for pluno und orchestru, so ngs und un
orchestrul bullet, her output conslsts ulmost entlrely of sulon works for pluno solo und
duet. Yeurs ugo these were fumous, und every plunlst possessed volumes of her muslc
but unfortunutely she hus now ceused to be the populur composer she onc e wus wlth the
mu|orlty of plunlsts, und hus been, to u certuln extent, shumefully neglected by present -
duy muslcluns. I cunnot speuk too hlghly of her work - to me lt ls perfect ln every wuy,
plunlstlc, brlllluntly effectlve, churmlng und muslcully, cont ulnlng nothlng cheup or
commonpluce.
It may not be "great" music, but many would-be composers could easily take pattern by her
work and gain knowledge thereby, of how to write music ideally suited for the piano. One
needs to be a fine advanced pianist to play Chaminade as she should be played, but less
advanced players will gain a great amount of pleasure from studying her work, for lovers of
real melody cannot fail to be impressed by her beautiful thoughts so attractively written. She
visited England a number of times, giving recitals of her own music, but apart from this, her
life seems to have been quite uneventful.
Representative Selection
Chaminade wrote practically nothing for young players, but teachers no doubt would be
interested to use her two Albums, Op. 123 (1st Series) and Op.126 (2nd Series), consisting of
very easy pieces for infants (Elementary and Transitional grades), published by Enoch.
Edwin Ashdown publish two books of Selected Pieces (some being arrangements of songs,
etc.). Danse Creole Op. 94, in six flats. This is one of her best solos, and with its very
attractive tango rhythm bass it will appeal to all dance enthusiasts. Also in this volume is the
appealing Contes Bleues, Op.122, No.2, chordal, with melody in bass (6/4 tempo), and not at
all difficult. There are three other solos also. Book 2 with its fairly recent photograph of
Chaminade on the title page, has seven pieces, more varied perhaps, and all fine numbers.
An arrangement of her own for piano, of the popular Srnade Espagnole (played a great deal
as a trio and violin solo), The Silver Ring, a famous and well-loved song, also transcribed for
piano, a Scherzo Symphonique pas des Sylphes, Madrigal and Chorale Les Noces D'Or and
Ritournelle, form a good, representative selection.
Enoch publish most of her music, and perhaps one of the loveliest is the Interlude, Op. 152, a
splendid essay with a very brilliant allegro middle section (Transitional grade). By far one of
the grandest miniatures I know. Similar in style is the poignant Au Pays Dvast, Op. 155,
composed after the last war (1914-1918). Here is a true sincere picture of her beloved country
after war's havoc. A deeply moving composition and one which will always occupy a firm
place in my affection. If Chaminade had written nothing except this, it would entitle her to
respect and admiration from all music lovers. A companion piece is Op. 156, Berceuse du
petit soldat bless, with its choral section interspersed with bugle calls, these having the last
say, dying away in the distance. Excellent!
Scaramouche, Op. 56, is a lively martial solo (one can trace passages rather like the modern
Poulenc in this). Middle section again has tango bass. Marche Amricaine (dedicated to
Sousa), Op. 131, is similar, rather more difficult.
Valses and Scherzos
As a writer of valses and scherzos Chaminade remains supreme. I have by me a batch of
valses, and can heartily recommend every one for their brilliance, lightness and tunefulness.
All need great finger dexterity. The 4th, Op. 91 is mainly in double notes (six flats), and
would make a fine encore number. This also applies to the Valse Militaire, Op. 109, in C
major and rather easier; 2nd Valse, op. 77; 3rd Valse, Op.80; and Valse-Caprice, op. 33. In
the easier grades (and less brilliant), suitable for younger pupils, there are Valse Romantique,
Op. 115 (L.H. crossing over R.H.), an even easier Valse-Ballet, Op. 112, and a very beautiful
Valse Tendre, Op. 119, the Air de Ballet, Op.30, Pas des Echarpes, Op. 37, and Pas des
Amphores, Op. 37. The latter two, being from the Callirhoe ballet, are well known and
require no comment. Recitalists on the lookout for good but neglected works cannot do
better than give Scherzo and Fileuse, both from the set of Concert Studies, Op. 35, a trial.
The Scherzo is difficult, but well worth studying, whilst Fileuse gives plenty of rotary work
and finger exercise for R.H.
Other etudes suitable for concert work include Op. 124 Etude Pathtique, with L.H. crossing
over R.H., many octave passages and bold chordal leaps. In Etude Mlodique, Op. 118
(again six flats) semiquaver triplets accompany a cantabile melody in R.H. Etude
Symphonique, Op. 28 is difficult and powerful, the L.H. having most of the work. Etude
Humoristique, Op. 138, is one of the very best. It provides both hands with plenty of work,
and is lighter (as the title would lead one to expect) than the previous studies. Automne, from
Op. 35, is perhaps the best known of all Chaminade's work, and together with the lovely
Pierette, Op. 41, will keep her name before the public for many years to come. Lovers of
dance rhythms will revel in Ecossaise, Op. 151 a sprightly staccato piece, nimble and fluent,
with plenty of variety in treatment; also La Morena, Op. 67, a Spanish caprice, bright and
airy. A great many of her solos are in the form of ancient dances, and I would single out for
special mention the early Minuetto, Op. 23 (fairly easy), Pice dans le style ancien, Op. 74 (a
siciliano), which contains more of her favourite device, crossing hands, a very charming
Passacaille, Op. 130, again fairly easy and straight forward, Gigue, Op. 43, a difficult concert
solo, full of vitality and containing first-class piano writing (why do pianists ignore such
excellent examples of healthy music), an extremely difficult Danse Paenne, Op. 158, lengthy
and rather over-developed, but very interesting to try, even if only enjoy the "barbaric"
element, so foreign as a rule in her music, and lastly, Air Danser, Op. 164, a warm and
glowing piece, harmonically very interesting. I might mention also the 4th and 5th Gavottes,
Op. 149 and 162, the former being the easier of the two.
Fine Selection
Of the three Preludes, Op. 84, my favourite is No. 2, a wonderful broad melody, treated in a
very ingenious manner. It makes the piano "ring" with an intensity which is altogether
admirable. And then we have the great Toccata, Op.39, a real firework display, for those
who can take it presto. What lightning fingers are required for this! Yet another gem,
Divertissement, Op. 105, is a splendid rhythmical number; also a collection of six Romances
Sans Paroles, Op. 76, of which at least one, the Elevation, is known and loved. This indeed
is a treasure store of good things: the graceful Souvenance, with its flowing melody in bass,
really inspired, Idylle, Eglogue and Meditation, pieces to be played and heard to appreciate to
the full. I cannot praise them highly enough: all pianists should try them.
Pastorale is a perfect little tone-poem, simple and sincere. No technical difficulties here, no
virtuosity for mere display, just a lovely musical message from a true musician. Arabesque,
Op. 61, prattles along in good humour, and needs careful manipulation. Guitarre, Op. 32,
Terpsichore, Op. 81 (a lilting waltz in 3/8), Expansion, Op. 106, Chanson Russe, Op. 98,
Caprice Humoristique, Op. 113 (rather difficult), the broad Cortge, Op. 143 (a majestic
affair in 12/8 time, with its fugal suggestion), Vert-Galant, Op. 85 (a delicate morsel), and
Thme Vari, Op. 89, can all be highly recommended. The list is endless, and one can always
be sure of gaining a winner by obtaining any work I have mentioned.
Ricordi's publish a few, including Arlequine, Op. 53, and La Lisongera, Op.50, both fairly
well known. The solitary Sonata, Op. 21 (an early work) is hardly satisfactory, and it may
seem strange that Chaminade did not attempt this form again. I feel that sonata form was
outside her realm; but as most composers have ambitions to write at least one, we must
forgive her for attempting it. As a light composer of piano music, Chaminade can never be
beaten, and together with Moszkowski and Schutt, she will always occupy a prominent place
in the history of light music. (Incidentally, the Sonata is dedicated to Moszkowski, to whom
she was, I believe, related by marriage.) Her excellent two-piano duets were reviewed in my
article on Duets in the issue for February, 1939.