Petite suite, Opus 39for orchestra
| Written: 1929 | Premiered: Paris, April 11, 1929 Walther Straram, conducting |
| Length: 14 minutes | Three movements: Aubade (Allegretto comodo) Pastoral (Andante) Mascarade (Allegro con spirito) |
| Publisher: Durand | Dedication: 1. Mme Henry Le Boeuf 2. Mme Khristoffer Nirop 3. Mme Jules Destree |
About this Work:|
The Petite suite has a number of similarities with the Concert pour petit orchestre, opus 34. First, both pieces were composed for and premiered by Walther Straram's small orchestra; they thus share similar orchestrational constraints. Second, they share a certain similar outlook; light but not frivolous, easy for the listener to grasp. Finally, they share similar structure — three movements, fast-slow-fast. (In this, admittedly, they are in the company of much of Roussel's mature music, such as the Piano Concerto, Suite in F, Concertino, Second and Third Trios, etc.) In contrast to the Concert pour petit orchestre, however, the Petite suite has a more "modern", Parisian sound, as opposed to the earlier work's more rustic feel.
The two fast movements of the Petite suite were composed first, and were premiered for the festival honoring the composer's 60th birthday. The Pastorale was added later. The opening Aubade is characterized by a unique ostinato in 10/8 time, with the ten beats grouped into 3/3, 2/2. The music has a popular, almost dance-hall feel to it reminiscent of the Trois pieces for piano; the Belgian musicologist Harry Halbreich remarked that this is a rare case where Roussel reminds the listener of the work of Darius Milhaud. The Pastorale is one of Roussel's meditative slow movements; and the meditation seems, in this case, to be tinged with sadness. The first section features an extremely long oboe solo, followed by passages featuring transparent, highly effective orchestration. Aside from an agitated central section in the strings, the music remains generally peaceful. Compared to some of Roussel's exquisite slow movements, the Pastorale is a bit disjointed — the "seams" between sections show, so to speak — but it has its charm regardless. The final Mascarade returns to driving rhythms with strings and woodwinds in counterpoint. The central section has an exotic air accentuated by liberal use of percussion. |
Other opinions:|
Among Roussel's later compositions, the Petite Suite is perhaps the closest in spirit and tonal color to the Spider ballet. [Harry Halbreich]
The themes are whimsical; the trumpet solo in the finale makes one think of Prokofiev. [Marc Pincherle] The Aubade has all the joyous freshness of a spring morning, and demonstrates the composer's ability to translate a scene or an atmosphere into musical terms. Picturesque detail is not lacking.... Mascarade captures the bustle and kaleidoscopic colour of a masked ball. The orchestration is vivid — Roussel employs an extensive percussion section. [Basil Deane] The central Pastoral is a much inspired slow movement, a sad piece in between two lively entertainments. [Lucie Kayas] This represents the mid-eighteenth-century instrumental serenade idea characterized by mixture of forms and scored for a compact ensemble... reminted in terms of the twentieth century. The designs are changed to modern equivalents: an "Aubade", real open-air exhilaration gliding in tenfold meter; a "Pastorale", plus a "Mascarade" which is a brilliant showpiece with Rousselian decorum. [Arthur Cohn]
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