The Original Solo Piano Music of Albert Roussel

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University
Microfilms
International
300 N. Zeab Road
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8503977
Minnis, Timothy John
THE ORIGINAL SOLO PIANO MUSIC OF ALBERT ROUSSEL
The Ohio Stale University D.M.A. 1984
University
Microfilms
International 300 N. Zeeb Road, Ann Arbor, Ml 48106
Copyright 1985
by
Minnis, Timothy John
All Rights Reserved
THE ORIGINAL SOLO PIANO MUSIC OF ALBERT ROUSSEL
DOCUMENT
Presented in Partial Fulfillment of the Requirements
for the Degree Doctor of Musical Arts
in the School of Music in the Graduate School of
The Ohio State University
by
Timothy John Minnis, B.M., M.M.
* * * * *
The Ohio State University
1984
Reading Committee: Approved by
Professor Richard Tetley-Kardos
Professor Keith E. Mixter
Professor Rosemary Platt School of Music

© 1985
TIMOTHY JOHN MINNIS
All R ig h ts R e serv ed
ACKNOWLEDGEMENTS
The author is indebted to Monsieur Dorn Angelico Surchamp

who in his extraordinary kindness and generosity secured
in Paris a copy of one of the rare printings of Roussel’s work,
Conte a la poupee, which might otherwise have been unavailable
for study.
In addition, the author wishes to thank Professor Basil

Deane, formerly Music Director of the Arts Council of Great Britain
and currently Director of the Hong Kong Academy for Performing Arts,
who graciously provided an advance pre-publication copy of one of his
articles on Roussel.
VITA AND PERFORMANCES
October 8, 1945 . . . . Born - Cleveland, Ohio
1956-1963 ............ Piano and Theoretical Studies,

Cleveland Institute of Music,
Cleveland, Ohio
1965-1967 ............ Instructor in Piano, Sommers School

of Music, Columbus, Ohio
1967 ................. Bachelor of Music degree in Piano

Performance, Ohio State University,
Columbus, Ohio
1967-1977 ............ Instructor in Piano and Theory,

Metropolitan Music School, New York
City
1973 ................. Master of Music degree in Piano

Performance, Manhattan School of
Music, New York City
1973-1974 ............ Director and President, Metropolitan

Music School, New York City
1974-1976 ............ Chairman, Board of Directors,

Metropolitan Music School, New
York City
1977-1980 ............ Teaching Associate in Piano, Ohio

State University, Columbus, Ohio
1978-1979 ............ Teaching Assistant in Piano Literature,

Ohio State University, Columbus, Ohio
1979-1980 ........ . . Adjunct Instructor in Piano, Kenyon

College, Gambier, Ohio
1979 ................. Admitted to Candidacy for the degree

Doctor of Musical Arts in Piano
Performance, Ohio State University,
Columbus, Ohio
iii
1982- Instructor in Piano, The Brooklyn
Conservatory of Music, New York City
HONORS, AWARDS
M.H. Osburn Fellowship for Doctoral Studies in Music - Ohio State

University, Columbus, Ohio, 1979.
Scholarships for graduate studies leading to the Master of Music

degree, The Manhattan School of Music, New York City, 1969-1970;
1972-1973.
Pi Kappa Lambda - Music Honorary Society, 1967.
Scholarships for undergraduate studies leading to the Bachelor of

Music degree, The Ohio State University, Columbus, Ohio, 1963-1967.
AREAS OF SPECIAL INTEREST AND RESEARCH
The music of Albert Roussel (1869-1937). Papers include "Indian

Modes in the Music of Albert Roussel," unpublished, 1979, and
"The Original Solo Piano Music of Albert Roussel," (in preparation),
1984.
Ornamentation and Performance Practice in French Baroque and Roccoco

Keyboard Music.
Ornamentation and Performance Practice in the Keyboard Music of Mozart

and His Contemporaries.
PERFORMANCES
Wednesday, May 23, 1979, 8:00 p.m., Hughes Auditorium. School of

Music, College of the Arts, The Ohio State University, Graduating
Recital Series, 1978-79. Supervising Professor: Prof. Richard
Tetley-Kardos.
TIMOTHY MINNIS, Piano
This recital is presented in partial fulfillment of the requirements

for the degree Doctor of Musical Arts.
PROGRAM
Suite in A minor (1728) Jean-Philippe Rameau

Allemande
Courante
Sarabande
Les Trois Mains
iv
Fanfarinette
La Triomphante
Gavotte et Six Doubles
Sonata in E Major, Op. 109 (1820) Ludwig Van Beethoven

Vivace, ma non troppo
Prestissimo
Andante molto cantabile ed espressivo
INTERMISSION
Sonata in F Sharp minor, Op. 2 (1853) Johannes Brahms

Allegro non troppo ma energico
Andante con espressione
Scherzo: Allegro
Finale: Introduzione - Allegro non
troppo e rubato
Alborada del gracioso (1905) Maurice Ravel
Friday, October 19, 1979, 8:00 p.m., Hughes Auditorium. School of

Music, College of the Arts, The Ohio State University, Student
Recital Series. Supervising Professor: Prof. Richard Tetley-Kardos.

assisted by Ruey Rodman, Piano

PROGRAM
Fantasia in F minor for Piano, Four Hands W. A. Mozart
Piano Concerto in E Flat Major, K.V. 271 W. A. Mozart

Allegro
Andantino
Rondeau (Presto)
Sunday, February 3, 1980, 8:00 p.m., Hughes Auditorium. School of

Music, College of the Arts, The Ohio State University, Graduate
Student Recital Series. Supervising Professor: Prof. Richard
Tetley-Kardos.
v
Richard Bell, Cello
Marjorie Spector-Minnis, Contralto
This recital is presented in partial fulfillment of the requirement^

PROGRAM
Sonata for Cello and Piano, Op. 65 Benjamin Britten

Dialogo
Scherzo - pizzicato
Elegia
Marcia
Moto Perpetuo
Sonata for Piano and Cello, Op. 65 Frederic Chopin

Allegro Moderato
Scherzo
Largo
Finale: Allegro
INTERMISSION
Liederkreis (Eichendorff), Op. 39 Robert Schumann

In der Fremde
Intermezzo
Waldesgesprach
Die Stille
Mondnacht
Schone Fremde
Auf einer Burg
In der Fremde
Wehmut
Zwielicht
Im Walde
Friihlingsnacht
Wednesday, July 23, 1980, 8:00 p.m., Hughes Auditorium. School of

Music, College of the Arts, The Ohio State University, Graduate
Student Recital Series. Supervising Professor: Prof. Richard
Tetley-Kardos.

vi
PROGRAM
Sonata in B minor, Op. 40, No. 2 Muzio Clementi

I. Molto adagio e sostenuto- (1752-1832)
Allegro con fuoco, e con espressione
II. Largo, mesto e patetico-
Allegro
Barcarolle, Op. 60 Frederic Chopin

Mazurka in C minor, Op. 30, No. 1 (1810-1849)
Mazurka in C sharp minor, Op. 50, No. 3
Ballade in F minor, Op. 52
INTERMISSION
Sicilienne Albert Roussel

Bourree (1869-1937)
from the Suite pour piano, Op. 14
Two Etudes Franz Liszt

Ricordanza (1811-1886)
La Campanella (Paganini)
CONTENTS
Page
ACKNOWLEDGEMENTS.............................................. ii
VITA AND PERFORMANCES.......................................... iii
LIST OF E X A M P L E S .............................................. ix
PREFACE............ xvi
Chapter
I. THE LIFE AND WORKS OF ROUSSEL........................... 1
Introduction........................................ 1
Biographical Sketch................................. 2
Artistic Development andWorks ...................... 10
Roussel and the Piano............................... 24
II. EARLY WORKS: THE SCHOLA ANDIMPRESSIONISM.............. 30
Des Heures Passent (Opus 1 ) .......................... 31

Conte a la Poupee................................... 36
Rustiques (Opus 5 ) ........................... 61
III. THE EMERGENCE OF AN INDIVIDUAL STYLE:

ROUSSEL'S EARLY M A T U R I T Y ............................... 103
Suite (Opus 14)..................................... 105

Sonatine (Opus 1 6 ) ................................. 1^3
Petit Canon Perpetuel............................... 19(3
IV. SURVEY OF THE LATE W O R K S ................................ 206
Doute................................................ 2°7
L'Acceuil des Muses................................. 209
Prelude et Fugue (Opus 4 6 ) ......................... 2-*-2
Trois Pieces (Opus 4 9 ) ............................. 2^
V. SUMMARY................................................... 223
A P P E N D I X ...................... 226
Indian Modes in the Music of Albert Roussel
BIBLIOGRAPHY .................................................. 258
viii
LIST OF EXAMPLES
Example Page
1. Some Karnatic and Hindu rigas employed by

Roussel in Padmavati and other works.................. 16
2. Opening chord of Pour une fete de p r i n t e m p s .......... 21
3. Des heures passent, "Graves, legeres," Op. 1,

No. 1, mm. 1-6.......................................... 32
4. (top) Cesar Franck, Prelude, Chorale and Fugue,

mm. 120-122. (bottom) Roussel, Op. 1, No. 1,
mm. 1 3 - 1 6 ...................1 ......................... 33
5. Op. 1, No. 1, mm. 29-30 ............................... 35
6. Op. 1, No. 1, mm. 4 1 - 4 4 ............................... 35
7. Op. 1, No. 1, mm. 7 1 - 7 4 ................................ 36
8. Des heures passent, "Joyeuses," Op. 1, No. 2,

mm. 1 - 2 ................................................ 39
9. Op. 1, No. 2, mm. 1 7 - 2 4 ............................... 40
10. Op. 1, No. 2, mm. 39-46 ................................ 41
11. (a) Op. 1, No. 2, mm. 55-58; (b) mm. 63-68............. 42
12. Des heures passent, "Tragiques," Op. 1, No. 3,

mm. 1 - 3 ................................................ 44
13. Op. 1, No. 3, mm. 9-14.................................. 45
14. Op. 1, No. 3, mm. 1 7 - 2 3 ................................ 46
15. Op. 1, No. 3, mm. 25-29 ................................ 47
16. Op. 1, No. 3, mm. 42-45 ................................ 48
17. Des heures passent, "Champetres," Op. 1, No. 4,

mm. 1 - 4 ................................................ 51
ix
Example Page
18. F. Couperin, fugue subject from Messe a 1*usage

des couvents.............................................. 51
19. Op. 1, No. A, mm. A / 5 - 8 .................................. 52
20. Op. 1, No. A, mm. 31/32-35................................ 53
21. Op. 1, No. A, mm. A 8 - 5 A .................................. 53
22. Op. 1, No. A, mm. 77/78-89........................... 5A
23. Op. 1, No. A, mm. 90/91-92................................ 55
2A. Conte a la poupee,mm. 1-6................................ 57
25. Conte a la poupee,mm. 9 - 1 1 .............................. 58
26. Conte a la poupee,mm. 18-21.............................. 59
27. Conte a la poupee,mm. 13-1A; 16-17; 2 2 ................. 60
28. Rustiques, "Danse au bord de l'eau," Op. 5, No. 1,

mm. 1-10................................................... 63
29. Op. 5, No. 1, m. 1 1 ...................................... 65
30. Op. 5, No. 1, mm. 1 7 - 2 1 .................................. 66
31. Op. 5, No. 1, mm. 2 6 - 3 1 .................................. 66
32. Op. 5, No. 1, mm. 3 7 - A 2 .................................. 68
33. Op. 5, No. 1, mm. A3-A6 ................................ 69
3A. Op. 5, No. 1, mm. A 7 - 5 1 .................................. 70
35. Op. 5, No. 1, mm. 5 A - 5 6 .................................. 71
36. Op. 5, No. 1, mm. 58-62 .................................. 72
37. Op. 5, No. 1, mm. 6 A - 6 5 .................................. 72
38. Rustiques, "Promenade sentimentale en foret," Op. 5,

No. 2, mm. 1-2........................... 76
39. Op. 5, No. 2, mm. 5 - 7 .................................... 77
x
tl
Example Page
40. Op. 5, No. 2, m. 9 and m. 17.............................. 77
41. Op. 5, No. 2, mm. 20-24 .................................. 78
42. Op. 5, No. 2, mm. 25-26 .................................. 79
43. Op. 5, No. 2, mm. 33-34 .................................. 80
44. Op. 5, No. 2, mm. 35-36 .................................. 81
45. Op. 5, No. 2, mm. 38-40 .................................. 82
46. Op. 5, No. 2, mm. 50-53 .................................. 83
47. Op. 5, No. 2, mm. 58-62 .................................. 84
48. Rustiques, "Retour de fete," Op. 5, No. 3,

mm. 1-2; mm. 5-6.......................................... 90
49. Op. 5, No. 3, mm. 13-15 . . . ; ......................... 91
50. Op. 5, No. 3, m. 2 6 ...................................... 92
51. Op. 5, No. 3, mm. 4 1 - 4 5 .................................. 92
52. Op. 5, No. 3, mm. 53-56 .................................. 93
53. Op. 5, No. 3, mm. 72-83 .................................. 93
54. Op. 5, No. 3, ram. 1 1 3 - 1 1 6 ................................ 95
55. Bela Bartok, Improvisations, Op. 20, No. 3,

mm. 12/13-14; mm. 24-25 ................................. 95
56. Op. 5, No. 3, mm. 1 1 8 - 1 1 9 ................................ 96
57. Op. 5, No. 3, mm. 1 2 1 - 1 2 2 ................................ 97
58. Op. 5, No. 3, mm. 171-173; mm. 178-179................... 97
59. Op. 5, No. 3, mm. 209-210 ................................ 99
60. Suite, "Prelude," Op. 14, No. 1, mm. 1-4................. 107
61. Mela raga Suryakanta...................................... 107
xi
Example Page
62. Op. 14, No. 1, mm. 13-17................................. 1®^
63. Op. 14, No. 1, m. 28..................................... H®
64. Op. 14, No. 1, mm. 35-38..................................
65. Op. 14, No. 1, mm. 39/40-41; m. 44........................ ^ 2
66. Op. 14, No. 1, mm. 48-49..................................
67. Op. 14, No. 1, mm. 52-56..................................
68. Op. 14, No. 1, mm. 66-67..................................
69. Op. 14, No. 1, mm. 71-72.................................. H-*
70. Op. 14, No. 1, mm. 90-91.................................. H®
71. Op. 14, No. 1, m. 9 9 . .................................... H 2
72. Suite, "Sicilieime," Op. 14, No. 2, m. 1 ................. I2*"*
73. Op. 14, No. 2, m. 2 ...................................... 121

* — — 123
74. Karnatic rhythmic pattern Rupaka tala ...................
75. Op. 14, No. 2, mm. 5-6.................................... I22
76. Op. 14, No. 2, mm. 7-8.................................... ^2^
77. Op. 14, No. 2, mm. 11/12........................... 126
78. Op. 14, No. 2, mm. 17-18.................................. ^2^
79. Op. 14, No. 2, m. 21..................................... 128
80. Op. 14, No. 2, mm. 24/25................................. 128
81. Op. 14, No. 2, m. 27 ..................................... 129
82. Op. 14, No. 2, mm. 35-37.................................. 130
83. Op. 14, No. 2, mm. 38-39.................................. 131
84. Suite, "Bourree," Op. 14, No. 3, mm. 1 - 1 4 ............... 12^
xii
Example Page
85. Op. 14, No. 3, mm. 23-26................................. 136
86. Op. 14, No. 3, mm. 47-48................................. 137
87. Op. 14, No. 3, mm. 60-66................................. 138
88. Op. 14, No. 3, mm. 72-75.................................. 138
89. Op. 14, No. 3, mm. 84-87................................. 140
90. Op. 14, No. 3, mm. 104-109............................... 140
91. Op. 14, No. 3, mm. 112-115............................... 141
92. Op. 14, No. 3, mm. 132-137............................... 142
93. Op. 14, No. 3, mm. 187-190............................... 143
94. Op. 14, No. 3, mm. 199-204............................... 144
95. Op. 14, No. 3, mm. 227-237. . ......................... 145
96. Op. 14, No. 3, mm. 258-259............................... 146
97. Op. 14, No. 3, mm. 265-267............................... 146
98. Op. 14. No. 3, m. 290; m. 293;m. 296; m. 299 ............ 147
99. Op. 14, No. 3, m. 303 .................................... 148
100. Suite, "Ronde," Op. 14, No. 4, mm. 1 - 1 0 .................. 151
101. Hindu raga Bhupali.......................................... 151
102. Op. 14, No. 4, mm. 27-30. ............... 153
103. K a m a t i c mela raga Mechakalyanx......................... 153
104. Op. 14, No. 4, mm. 31-34.................................. 155
105. Op. 14, No. 4, mm. 39-44.................................. 156
106. Op. 14, No. 4, mm. 49-52.................................. 156
107. Op. 14, No. 4, mm. 62-64.................................. 158
108. Op. 14, No. 4, mm. 100-103............................... 160
xiii
Example Page
109. Op. 14, No. 4, mm. 126-128............................... 162
110. Sonatine, Op. 16 (first movement), mm. 1-7.............. 166
111. Op. 16 (first movement), mm. 28-31....................... 167
115. Op. 16 (first movement), mm. 105-106..................... 171
120. Op. 16 (first movement), mm. 202-209.......... 176
123. Sonatine, Op. 16 (second movement), mm. 1 - 4 ............ 181
124. Op. 16 (second movement), mm. 7-10....................... 182
125. Op. 16 (second movement), mm. 1 1 - 1 3 ..................... 183
127. Op. 16 (second movement), mm. 24-28 ..................... 185
132. Op. 16 (second movement), mm. 94-95 ..................... -*-89
xiv
Example Page
133. Op. 16 (second movement), mm.122-124 ................... 190
134. Op. 16 (second movement), mm.133-134; mm. 139-142. . . . 191
137. Op. 16 (second movement), mm. 189-190 •. 194
139. Petit Canon Perpetuel, mm. 3-8........................... 199
140. Petit Canon Perpetuel, mm. 10-14......................... 200
141. Petit Canon Perpetuel, mm. 19-^2......................... 201
142. Petit Canon Perpetuel, mm. 16-17........................ 202
143. Doute, mm. 1-5............................................ 208
144. Doute, mm. 15-17.......................................... 209
145. L'accueil des Muses, mm. 20-22........................... 210
146. L'accueil des Muses, mm. 1-3............................. 211
147. Prelude et Fugue, "Fugue," Op. 46,

mm. 1 - 7 .................................................. 212
148. Op. 46, "Fugue," mm. 57-63................................ 214
149. Op. 46, "Prelude," mm. 1-5................................ 216
150. Trois Pieces, "Allegro conbrio," Op. 49, No. 1,

mm. 1 - 6 .................................................. 217
151. "Allegro grazioso," Op.49, No. 2, mm. 1-4.................. 219
152. "Allegro con spirito," Op. 49, No. 3, mm. 1-10........... 220
153. "Allegro con spirito," Op. 49, No. 3, mm. 83-86 ......... 221
154. "Allegro con spirito," Op. 49, No. 3, mm. 98-101......... 221
xv
PREFACE
With respect to the title of this work, "The Original

Solo Piano Music of Albert Roussel," it should be noted that Roussel
prepared and'published various solo piano reductions or transcriptions
of some of his works originally composed for other instrumental media.
Among these are the symphonic works Resurrection, Op. 4 and Le Marchand
de sable qui passe, Op. 13; the symphonic band work A glorious Day,
Op. 48; the ballets Le Festin de l'Araignee, Op. 17 (and separately a
"Valse" extracted from Op. 17), and Bacchus et Ariane, Op. 43; and
Segovia, Op. 29, originally for guitar. In addition, Roussel wrote
one work for piano and orchestra, the Concerto, Op. 36. Inasmuch as
the present work is focused upon those works of Roussel originally
intended for the piano alone and further that the above cited reduc
tions and transcriptions survive today only in their original forms,
these works as well as the Concerto are not a part of this study,
which is limited exclusively to the works originally written for solo
piano and which survive in that form.
It may be further noted that Chapter I of this document

is provided as a background to a study of the piano works through a
review of the Roussel literature, and is therefore necessarily
derivative in nature. Succeeding chapters represent original research
and ideas, except where specifically noted by footnotes or other
references. Particularly detailed attention has been focused on the
early and middle period works of Roussel (Chapters II and III),
because it is principally through them that Roussel's development as a
composer for the piano can be traced. The few works written in his
last period, which represent the synthesis of his earlier production,
are surveyed in a more general way in Chapter IV, whose purpose is to
emphasize the results of his earlier artistic struggles and the
character of his mature style.
Chapter I
The Life and Works of Roussel
Introduction
The details of Roussel's life have been amply documented
elsewhere. Several full length biographies of the composer have been
published since the first quarter of this century.^- In addition,
numerous articles and book chapters have appeared which supplement

2
the information known about Roussel's life. Naturally, because
Roussel was not a keyboard virtuoso and because the solo piano music
represents a small proportion of his oeuvre, his biographers have
directed less attention to his training and development as a keyboard
1. See in particular the following: Louis Vuillemin, Albert Roussel

et son oeuvre (Paris: Durand et fils, 1924); Arthur Hoeree, Albert
Roussel (Paris: Rieder, 1938); Norman Demuth, Albert Roussel: A
study (London: United Music Publ., Ltd., [1947]); Robert Bernard,
Albert Roussel (Paris: La Colombe, 1948); Marc Pincherle, Albert
Roussel (Geneva: Editions Rene Kister, 1957); Basil Deane, Albert
Roussel (London: Barrie & Rockcliff, 19.61); and Dom Angelico
Surchamp, Albert Roussel: L'homme et son oeuvre (Paris: Editions
Seghers, 1967).
2. Especially useful are: "La Vie et l'CEuvre d 1Albert Roussel,"

Catalogue de l'OEuvre d'Albert Roussel [comp, and ed. Joseph
Weterings and Mme. Albert Roussel] (Paris/Brussels: Editor, 1947),
7-15 and Rene Dumesnil, "La Schola: Albert Roussel," L'aube du XXe
siecle, Vol. IV of Histoire de la Musique, ed. J. Combarieu and
R. Dumesnil (Paris: Librairie Armand Colin, 1958), 475-503.
1
2
player per se and as a composer for the piano than to his other skills
and interests, notably to his symphonic development and output.
Accordingly, the following biographical sketch, as well as the sections
which follow it in this chapter, in addition to providing a background
for a study of Roussel's piano music, will incorporate the known and
recorded details of Roussel's pianistic studies and development and
will note his professional associations with notable pianists of his
time.
Biographical Sketch
"He has experienced the glamour of the sea, and of the east.
Beyond that he has lived and worked, and that is all."
On April 5, 1869, in the village of Tourcoing, part of an
industrial province in Flanders in the north of France, Albert-
Charles-Paul-Marie Roussel was born. His ancestors had long lived in
Tourcoing, some having served in various civil posts in the province,
while others held positions in various national governments. The
composer's father, also named Albert, was a partner in a carpet and
tapestry manufacturing firm of distinction and fame. Albert Roussel
pere, however, died of tuberculosis in 1870 during young Albert's
infancy. His mother, Louise Roussel, provided the future composer
with his first lessons in the rudiments of solfege and music. However,
3. Edwin Evans, "Albert Roussel," The Chesterian VII/51 (Dec. 1925),

74.
3
in 1877, she, too, died, after which the orphaned child was placed
in the care of his fraternal grandfather, Charles Roussel-Defontaine,
the village mayor and author of a history of Tourcoing. In his
grandfather’s home, Roussel occupied himself by playing piano fan
tasies on popular operas of the day, among them Audran's La Mascotte,
Donizetti’s La Favorita and Halevy's La Juive. No specific mention
is made in the Roussel literature of the identity of his first piano
teacher, but by inference it would appear to have been his mother.
After her death, upon his entrance into the grammar school at Tourcoing
(College du Sacre-Coeur), he presumably continued his studies, although
peripatetically. His own earliest recollections were of improvising
at the piano. It was not until after his grandfather's death in 1880
that the young Roussel found a home of some permanence when he was
placed in the care of his uncle, Felix Requillard, who was the husband
of Roussel's maternal aunt. There, too, he received his first formal
musical education when he began piano and musical studies with a
Mile. Decreme, the organist at the local church of Notre-Dame. Appar
ently this village musician was much impressed by her young student's
acute and subtle intelligence, and by his dream of one day directing an
orchestra. Unfortunately, it appears that potpourris continued to be
his only musical nourishment.
Drawn by a fascination with the sea, encountered during
summer sojourns with his uncle on the Belgian coast, and fueled by
avid reading of the tales of Jules Verne, Roussel determined that
his future lay in the navy. Accordingly, in 1884, his fifteenth year,
4
he was sent to Paris to enter upon the preparatory course for the
naval academy at the College Stanislas. There he encountered the
second in a succession of organist-teachers who were to influence
him, Jules Stoltz, organist and priest at the church of Saint-
Ambroise and music instructor of the College Stanislas. Stoltz intro
duced the mathematics student to the music of Bach, Mozart, Beethoven
and, finally, Chopin.
Having completed the preparatory course very successfully,
Roussel was admitted into the Ecole Navale in 1887. His first
assignment was to train as an apprentice naval officer aboard the
Borda, a naval training ship. Thus occupied for the following two
years, Roussel's life during this period was apparently devoid of any
further musical training. During 1889-1890, aboard the training
frigate Iphigenie, having achieved the rank of aspirant first class,
Roussel traveled to Egypt and Indochina, where he was greatly influ
enced by a culture previously unknown to him, a culture that was to
have great significance upon his later artistic development. Service
on a succession of other ships, as well as his commission as an
officer of the navy, followed, and Roussel's thoughts turned once
more to music. He made an unsuccessful attempt to teach himself the
principles of harmony and composed his first works, a Fantaisie for
violin and piano and scenes from an opera on an Indian theme. In
this latter work, he was once assisted in an impromptu performance by
a young visitor to the frigate Melpomene, the then 12-year old
Gabriel Grovlez who, 21 years later, would conduct the premier

5
performance of Roussel's ballet, Le Fes tin de 1'araignee. In addition,
in association with some of his comrades in the navy, Roussel studied
and played much chamber music, including sonatas and trios of
Beethoven, Mendelssohn, Schumann and Grieg. After a performance of
one of his compositions at the Christmas mass in 1892 at the Church of
the Trinity in Cherbourg, his home port at the time, he was encouraged
by his friends, including the brother of the famous singer Emma Calve.
Plagued by ill-health, Roussel took an extended leave of absence from
his naval service in 1894 and returned to his family, then at Roubaix,
where he sought the director of the conservatory, Julien Koszul.
Koszul, on the basis of some fragments of Roussel's work,
agreed to accept the young naval officer as a harmony student. Abetted
by these studies, Roussel decided during this period to resign his
commission and devote himself exclusively to music. His resignation
was accepted on June 23, 1894. After some months, Koszul apparently
recognized that Roussel's further musical development could best be
carried out in Paris, where he recommended that the aspiring composer
study with Eugene Gigout of the Ecole Niedermeyer.
Thus, at the age of 25, Roussel began his first serious
organized course of study in music. And while he had always been
disciplined, Gigout imposed direction and purpose to his work. During
the four years 1894-1898, Roussel studied piano, organ, harmony,
counterpoint and fugue based on the classic models Bach, Handel,
Beethoven and Mozart. The Ecole Niedermeyer was considered one of the
sanctuaries of neo-classic orthodoxy, Gigout one of its high priests.

6
In his first communication with Roussel, Gigout had written: "The
old, the very old masters must be the object of a special cult; it is
through them that it will be possible for you to think well and to
remain y o u n g . G i g o u t , with Faure, had been a student of Saint-
Saens. Roussel seems to have received a thorough grounding and
refinement of his craft under Gigout's direction; at the conclusion
of his four years' study, as he was preparing for a new phase of his
education, Roussel was later to recall that "Upon entering the Schola,
I knew how to write...""’
If on the one hand, it can be said that Gigout guided
Roussel to a mastery of the craft of composition based on classical
models, it was, conversely, Vincent d'Indy who was to turn Roussel in
the direction of his ultimate musical personality. Introduced to
d'Indy in 1898, coincidentally the same year he published his Opus 1,
Des heures passent for piano, Roussel was apparently sufficiently
impressed to enter upon a course of composition at the Schola Cantorum,
which had been founded by d'Indy with Charles Bordes and Alexandre
Guilmant two years prior. Founded as an alternative to the Conserva
toire of Paris, which d'Indy and his associates considered retrogres
sive and insular, the Schola's philosophy, if it can be said to have
had a single guiding principle, was one based on the model of Cesar
4. Letter from Eugene Gigout to Albert Roussel dated 27 May 1894,

quoted in Bernard, o p . cit., 19 [author's translation].
5. Interview given to Roland-Manuel [in 1929?] quoted in Pincherle,

op. cit., 42 [author's translation].
7
Franck, whose music the Schola's founders considered the most ap
propriate direction for French music to take into the twentieth
century. Accordingly, in line with Franck's style, the Schola, and
especially d'Indy, espoused such compositional principles as extensive
thematic development, cyclic unity, the consideration of modulation as
one of the fundamental materials of musical architecture, harmony
based upon the then advanced concepts of Wagner, and musical forms of
substantial proportions. Roussel himself entered the Schola with the
idea of expanding upon what he considered certain deficiencies in his
technical apparatus. Completing the quotation previously cited,
Roussel recalled that "Upon entering the Schola, I knew how to write.
g
What I learned there is orchestration." Notwithstanding that state
ment, Roussel undertook studies at the Schola which included the
standard Schola composition course, as well as orchestration and
music history, which was taught by d'Indy himself. Roussel was to
continue his studies until 1907. However, in what was a testament
to Roussel's outstanding training and accomplishments as a student of
Gigout, d'Indy appointed him professor of counterpoint at the Schola
in 1902, a position he was to hold for the following twelve years.
Some of his notable students were Paul Le Flem, Stan Golestan, Felix
Raugel, Edgar Varese, Roland-Manuel, Guy de Lioncourt, Marcel Orban,
Bohislav Martinu, Eric Satie, Knudage Riisager, Conrad Beck and Jean
6. Ibid. [author's translation].

8
Martinon.
In 1908, Roussel met and married a young Alsatian woman,
Blanche Preisach, with whom he undertook an extended trip the following
year to India, Ceylon and Indochina. In the course of these travels,
Roussel was much influenced by Indian modal music, an influence that
was to have significant impact on his artistic development, especially
with respect to his ultimate harmonic language.^ Directly influenced
by this trip are two important Roussel compositions, the three-movement

8
orchestral suite Evocations and the opera-ballet Padmavatx. It was
while he was working on Padmavatx that World War I erupted in 1914, and
Roussel, who had been removed from the naval reserve for health
reasons, obtained a commission in the artillery in 1915. Serving first
as a transport officer for the Red Cross and later as commander of a
transport corps in the 13th Artillery Regiment, he experienced hostile
action at the Battle of the Marne and was bombarded at Verdun. His
wartime experiences led to a precarious state of health from which he

a
would never ully recover. In a letter to his wife on May 17, 1916,
he wrote:
I would never have believed that I would be able to bear,

as I have borne, the tiring existence that I have led for seven
7. A more complete discussion of this subject is included in the next

section of this chapter as well as in the description of Roussel's
Opus 14, Chapter III.
8. Timothy Minnis, "Indian Modes in the Music of Albert Roussel,"

[hereinafter referred to as Appendix], 246-253.
9
months at the front... I record that I am "excessively

tough." I have spent nights without sleep, days without
eating, and, on the whole, you will see that I still look
good.°
Finally, in January 1918, he was invalided out of the
service and convalesced at Perros-Guirec on the Brittany coast.
There he completed Padmavatx and worked on his second symphony and
the symphonic poem Pour une fete de printemps from 1919 to 1921.
Never having lost his fondness for the sea, Roussel purchased a perma
nent home at Vasterival near Varengeville on the Normandy coast in
1922.
Thereafter, Roussel remained active while his prominence
grew steadily throughout France and ultimately extended throughout
the world. In 1929, on the occasion of his sixtieth birthday, the
composer was honored with a Roussel Festival in Paris. In that same
year, two leading French journals, La Revue Musicale and Courrier
Musical, devoted entire issues to Roussel. In 1930, upon the oc
casion of the fiftieth anniversary of its founding, the Boston Symphony
Orchestra under the direction of Serge Koussevitsky commissioned and
premiered Roussel's third symphony, his most enduring work. Germany
conferred the Brahms Medal on him and numerous festivals dedicated to
Roussel's works were held in Holland and Belgium. In Italy, he was
named to the Academy of Saint Cecilia, and throughout eastern Europe
his works were performed and admired.
9. Letter from Albert Roussel to his wife dated 17 May 1916 quoted in
Surchamp, op. cit., 52 [author's translation].
10
In 1936, despite an attack of angina, he vigorously-
served as chairman and organizer of the music division of the Paris
Exposition; moreover, he demonstrated his devotion to the music of
younger composers of all styles by reading the French scores submitted
for the annual international music festival, ISCM. He was by many
accounts always gracious and encouraging to younger artists. All
these activities, as well as his continued vigorous work on his own
composition, exhausted him, so he went to Royan to rest in the warmer
climate. While there, in August 1937, he suffered a fatal heart
attack and was buried, in accordance with his own wishes, in a small
naval cemetery overlooking the sea at Varengeville.
Artistic Development and Works
Roussel’s growth and maturity developed in a clear process
which included experimentation, consideration and either incorporation
or repudiation of external influences both of the past and of his own
time, the working out of his own ideas in several different directions,
and finally the forging , in his maturity, of a unique personal style
immediately recognizable and original. Most composers, in their early
developmental stages, seem to pass through a period of eclecticism,
deriving a style based on the incorporation of traditional and fashion
able practices of their time. However, only those who possess a
compelling personal vision can transcend the early stage of synthesis
of external influences. Significantly, Roussel had come late to
music. Already in his mid-twenties when he began to compose and study
seriously, he had experienced the rigors of naval training and service,

11
he had traveled extensively and he had made the crucially important
and difficult decision to resign his commission and give up a suc
cessful career in order to devote himself to music at an age when most
major artists are already almost fully formed. His ultimate emergence
as a strong musical personality with a unique voice separated him as a
composer of merit, distinction and lasting value because he was able
to assume the direction of his own vision, to dominate all external
influences, rather than be led by the vision of others.
Perhaps the best introduction to Roussel's career is the one
he himself provided for the program notes to a concert in 1933 in
which one of his works was to be performed. In this biographical
sketch, Roussel succinctly defined what he saw as three phases of
his development:
His musical career may be divided into three periods. The

first period, from 1898 to 1913, shows him, after some already
markedly individual works, slightly influenced by Debussy,
but mindful, above all, of the solid architecture taught by
d'Indy. The Divertissement [1906], . . . free from all external
influence, anticipates the definitive works of the third period.
On the other hand, the first symphony, called Poeme de la
foret, the Evocations, . . . the ballet Le Festin de l'araignee
. . . belong in part to the so-called "impressionist" school.
With Padmavati . . . a period of transition begins (1918).

The style is transformed, the harmonic progressions become
more audacious and harsh, the Debussian atmosphere has complete
ly disappeared . . . .
Finally, in a third period [1926], the musician appears

to have found his definitive style of expression . . .
10. Albert Roussel, 1933, quoted in Marc Pincherle, "Albert Roussel,"

Histoire de la Musique, 2 vols., e d . Roland-Manuel (Paris:
Encyclopedie de la Pleiade, Librairie Gallimard, 1963), II, 950
[author's translation].
12
In another context, Roussel described in greater detail
the attributes and esthetics of the orientation towards neo-classicism
of which he was a part:
This orientation, in so far as it concerns music, is

expressed by the return to clearer lines, bolder character
istics, a more distinct rhythm, horizontal rather than ver
tical writing, a certain brutality especially in the means
of expression contrasting with the subtle elegance and vaporous
atmosphere of the preceding period, an attentive and sym
pathetic look at the robust frankness of a Bach or a Handel •..
in short, and despite appearances, a return to the classic
tradition in a free language and one somewhat less hesitant
still. .. H
Perhaps because Roussel published nothing while studying
with Gigout, the latter's influence on Roussel has often been under
rated in the literature. But Gigout must be credited with developing
certain of Roussel's life-long traits, among them a taste for hori
zontal writing and polyphony, an economy of means, spare writing and
for the traditional forms of sonata and symphony.
The emergence of an early style, however, belongs to the
period when Roussel was under the influence of d'Indy and the Schola.
The Schola's esthetic, already noted (pages 6 and 7, above), accounts
for what Basil Deane has characterized as "the inflated compositional
11. Albert Roussel, "Les vues de quelques compositeurs sur la musique

contemporaine. Lettre d'Albert Roussel," Le Monde Musical XXXVII/6
(June 30, 1926), 232 [author’s translation].
12. Bernard, op. cit., 57.

13
13
apparatus" of Roussel's Piano Trio (1902), the first symphony (1904-
1906) and the First Sonata for violin and piano (1907-1908). These
works employ the cyclic forms typical of the Schola. Norman Demuth,
however, in discussing these works of Roussel's early period, argues
that "whatever influences may be found in them are incidental....
His economy in the use of notes, his vigour, his drive, his never-
ceasing flow, all combine to put him on another line altogether [that
is, distinct from the Franckist-Schola model]. His contrapuntal genius
gave him continuity.. .
Almost inevitably, Roussel, like most of his contemporaries,
came under the influence of impressionism. His most notable im
pressionist scores are the orchestral suite Evocations (1910) and
the ballet Le Festin de l'araignee (1912). Basil Deane has justly
observed that Roussel was "closer to Ravel than to Debussy...
preferring clearly drawn lines and continuous rhythms to melodic and
rhythmic flux."-^ Like Debussy, however, Roussel's was not a
romanticized or subjective impressionism, "... I didn't attempt to
localize an impression nor to suggest a scene e x a c t l y . N o r was
13. Basil Deane, "Albert Roussel," The New Grove Dictionary of Music
and Musicians, 6th ed., 20 vols., ed. Stanley Sadie (London:
Macmillan, 1980), XVI, 274.
14. Demuth, op. cit., 134-35. 15. Deane, loc. cit.
16. Albert Roussel, in an interview with Albert Laurent for the Guide
de Concert, Oct. 12, 1928, quoted in Rene Dumesnil, "Albert Roussel,"
Portraits de Musiciens franqais (Paris: Plon, 1938), 219 [author's
translation].
14
Roussel a mere imitator of either Debussy, Ravel, or any other
composer. He was sensitive in responding to external and natural
stimuli, but in application, he analyzed his responses in a dis
passionate way and produced works which were highly personal and
unique.
To summarize up to this point in his career, Roussel had
been influenced by a diverse array of artistic directions. Gigout had
nourished Roussel's natural feeling for counterpoint and for classical
economy of means; d'Indy had trained him to think in large archi
tectural terms and in a bold harmonic idiom which contrasted with the
suave Saint-Saens tradition of the Conservatoire. From the impression
ists, especially Debussy, Roussel found a way to express his reactions
to extramusical phenomena. Throughout these phases, Roussel remained
individual, primarily because of his natural inclination to express
himself in contrapuntal terms, his acerb, brash harmonic language, and,
perhaps even more to the point, because of the rhythmic vigor of his
musical speech.
One further and crucial aspect of Roussel's artistic heri
tage was the influence of Hindu music which he first encountered on
his trip to the East in 1909. Roussel produced three works which were
indelibly stamped with the language and spirit of the orientalism he
had encountered. As has been shown , ^ especially with respect to the
opera-ballet Padmavatx, but also in Evocations and portions of the
17. Appendix, 235-253.

15
Suite for piano, Roussel incorporated Hindu (northern Indian) and
Karnatic (southern Indian) ragas into his music with integrity and
sophistication, in a systematic way that was faithful to their tradi
tional uses. The modal variety encountered in Indian music provided
Roussel with one more means of developing his natural inclination
toward melodic angularity and harmonic pungency. Arthur Hoeree, a
friend and early biographer of the composer, and also one of the first
investigators who systematically analyzed Roussel's use of Indian
modes, suggested very early on that the incorporation of Indian
modality into Roussel's language was crucial to the development of
his mature style:
The analysis of modes in Roussel's work can be pursued very

much further; but it is most important to establish the modal
spirit of his music.
This spirit directly influences the Rousselian melody,

whose undulating shape, great leaps (of the sixth and the
seventh), displaced accents, chromaticism, constant modulation
and its corollary, tonal instability, belong to him alone.
While many other French composers, including Gounod, Chabrier, Duparc,
Faure, Koechlin, Ravel, Debussy, and Dukas, as well as the Russian
Rimsky-Korsakov, had employed various ancient modes at one point or
another in their music, more often than not it was used for some exotic,
pseudo-oriental and temporary effect. With the possible exception of
Debussy, whose use of the pentatonic and other modal scales is well
18. Arthur Hoeree, "La Technique," La Revue Musicale X/Numero special

(Apr. 1929), 90-91 [author's translation].
16
known, Roussel alone incorporated certain features of eastern and
oriental modality, especially Hindu ragas, into the fiber of his
musical speech. In recapitulating Roussel's development after the
latter's death, Hoeree again pointed out that
... alone among his contemporaries, Roussel uses in a

continuous fashion a great variety of modes. He has in
tegrated them into his language and often owes to them the
originality of his melodic shape, the individuality of his
harmony.^
Example 1 shows some of the exotic Hindu and Karnatic
ragas which Roussel drew upon in Padmavatx and other works, employing
these with an appropriateness to their Indian traditions which unequiv
ocally demonstrates Roussel's thoughtful study of Indian music.
Example 1. Some Karnatic and Hindu ragas employed by Roussel in

Padmavatx and other works.
Karnatic mEla rBga NHtakapriva. Hindu thata rasa Purvi.

v *
-hbi----- ■--- :-------- wfcp w ------

— ° -------- Jl
------------
^ Karnatic mela rasa GaneevabhusanI . Karnatic mSla raRa Suryakanta.

7 1, ^ D
) ... -. _ 0-P.D P W ' ------- 1---- -— „ o ® ---------
c ° - ~ - g ---------------- ..'■©- ...................
k Hindu rZ^a Dhanashri.

rrJ
i----------------
UXJ>--------- , ---------
—
r •©-po t>o O ^ u
19. Hoeree, Albert Roussel, 88.

17
Basil Deane has stated that "The use of chromatic alteration and
addition within a basically tonal chord structure, with a consequent
increase of dissonance, became henceforth a feature of Roussel's

pA
language ...", a development in Roussel's style which clearly had
its origin in the use and influence of Indian scalar material.
Even in 1929, as Roussel was about to begin composing works in his
final style and more than a decade after he had completed Padmavati
and more or less abandoned the systematic application of particular
exotic modal material, Nadia Boulanger's summary of the outstanding
characteristics of the Roussel language, without specifically men
tioning his debt to Indian modality, shows clearly the result of that
influence upon Roussel's style:
-Modifications of tetrachords altering the scale and forming

new harmonies.
-Polymodality ...
-Predominance of certain intervals (augmented 4th, major 7th,

minor 9th).
-Frequent use of chords of the 11th and 13th; statements of the

major 7th between the ninth and the fundamental; of the minor
9th between the 3rd and the 11th.
-Alternations of irregular meters, rhythmic persistence, dynamic

development of a remarkable continuity.
-An almost total absence of "chains of harmony," of exact symmetry.

21
-Exceptional length of phrases.
20. Deane, loc cit.
21. Nadia Boulanger, "L'CEuvre theatrale d'Albert Roussel," La Revue

Musicale X/Numero special (Apr. 1929), 297 [author's translation].
18
So just as Roussel had used impressionism to transcend his
early Schola-dominated works, he used Indian modality to give his
brand of impressionism a unique stamp. However, as early as the war
years, when he was undergoing a reevaluation of his artistic esthetics,
Roussel was nurturing the seeds of his mature style, usually referred
to as his "neo-classic" phase. Neo-classicism was in full force in
the 1920's and 1930's, led by Stravinsky, and Roussel found in the
supposed return to the ideals of the Baroque his true artistic home.
In 1916, he predicted that "... I will write very much more 'simply'
than I have only begun to d o . " ^ And in 1928, recalling that during
the war he had used the time "... to reflect on my art," he described
what had finally determined for him the direction of his future away
from impressionism:
I had, as so many others, been entranced by the new styles of

musical creation. Impressionism had seduced me; my music was
tied, perhaps too much, to exterior means, to picturesque
procedures which - I judged it so later - robbed it of part of
its specific truth. From that time, I resolved to expand the
harmonic sense of my writing, I attempted to approach the
idea of music for its own sake . . . music which seeks to
separate itself from all picturesque and descriptive elements,
and to be free from any localization in space . . . . Far from
wishing to describe, I force myself always to obliterate from
my mind the remembrance of objects and forms which are sus
of translation into musical effects. I wish only to make music.
22. Letter from Roussel to an unnamed correspondent, dated May 17,

1916, quoted in Surchamp, op. cit., 51 [author's translation].
23. Roussel, in an interview with Albert Laurent for the Guide de

Concert, Oct. 12, 1928, quoted in Pincherle, "Albert Roussel,"
956 [author's translation].
19
In the post-World War I years, then, Roussel's style evolved
along neo-classical lines, but nonetheless retained a predominantly
personal stamp. As previously cited (page 12, above), Roussel
described the neo-classical movement as a return to music with clearer
lines, bolder features, more precise rhythm, more horizontal rather
than vertical writing and a certain brutality in the means of ex
pression. Paul Frank, writing from the perspective of the twenty-
fifth anniversary of Roussel's death, noted that Roussel separated
himself from the Romantics and Impressionists principally through the
rhythmic character of his mature style, rather than from any revolu
tionary harmonic direction:
. . . he was interested in the element which the Romantics and

Impressionists had neglected: rhythm. Roussel sought rhythmic
variety and independence from the bar line through syncopation
and accent. Roussel's sense of rhythm hasn't the primordial-
primitive tinge of Stravinsky, but a cultivated French charac
ter. . . . Despite strong polyphony, his music is built upon a
harmonic foundation and a dominant tonality. . . . The classi
cal features in Roussel's music are clarity of form, precision
in construction and discretion in the expression of feelings. ^
Further corroborating the importance of rhythm as the means by which
Roussel escaped impressionism and entered the realm of "pure" music,
or music devoid of extramusical allusions, Joseph Weterings, together
with Mme. Albert Roussel, observed:
After Padmavatx, the Rousselian thought-process is made

still more complex and more distilled. One can speak even of
24. Paul L. Frank, "Albert Roussel zum 25. Todestag," Os terreichische

Musikzeitschrift X (Oct. 1962), 480-481 [author's translation].
20
a new classicism . . . . Nature had up to then been a

reference in his work. . . . Immediately thereafter, Roussel
seeks no other pretext than that of the music itself . . .
without recourse to a program. Rhythm . . . is the great
motivating force of his work, because pure musical thought
needs this direct c o m m u n i o n . 5
The irregular metric patterns of the early works (see the works
discussed in Chapter II, for example) are replaced by driving
motoric rhythms established in the opening bars and maintained
throughout a movement or section in the style of the Baroque.
Pincherle not only points out the character of the rhythm in Roussel's
mature style (". . . what shows Roussel's work to best advantage are
the obstinately powerful, simple, imperious rhythms . . . of the

26
mature period."), but demonstrates also that Roussel used rhythm as
an essential ingredient in the formal construction and development of
a work. Both D e a n e ^ and Pincherle^ point out, for example, that
Roussel had a lifelong penchant etc.),
which recurs throughout his work (e.g., the Sinfonietta, the third
symphony), and which serves as a unifying, signature-like figure.
Roussel's commitment to the expansion of his harmonic
language is announced by the uncompromising harmony of the opening
bar of the symphonic poem Pour une fete de printemps (1920) (Example 2),
25. Weterings and Roussel, op. cit., 14 [author's translation].
26. Pincherle, Albert Roussel, 146-147 [author's translation].
27. Deane, "Albert Roussel," 275.
28. Pincherle, Albert Roussel, 147-148.

21
Example 2. Opening chord of Pour une fete de printemps,
8 --:
( -P-
3“
which combined the tonalities of A major and E flat major. Thereafter,
bitonality and bimodality would be an essential compositional element
in Roussel's music. An increase in contrapuntal involvement is inex
tricably connected with the expanded harmonic sense, in that individual
contrapuntal lines take on a life and direction of their own indepen
dent of the other voices. Wilfrid Mellers has underscored this point:
The subtlety and concentration of the harmony in his late

work is due mostly to the manner in which the lines creating
the polyphonic structure are not only continually shifting
their tonal centre, but do not necessarily modulate simul
taneously in the same direction. . . . Continual "unorthodox"
modifications of the tetrachord are thereby produced, which are
often intensified by interior pedals and unresolved appoggia-
turas. Such polymodal thinking is both more subtle and more
natural than strict polytonality in which different keys of
the same diatonic system are employed at once.
On the subject of tonality, specifically atonality versus polytonality,
Roussel himself made the following observation:
29. Wilfrid Mellers, "Albert Roussel and 'La Musique Franqaise',"

(Scrutiny, 1938), repr. rev. in Studies in Contemporary Music
(London: D. Dobson, 1947), 81-82.
22
Two currents stand out, one which tends towards a complete

atonality, the other which leads to a more or less independent
polytonality. If the first of these two tendencies appears
to me dangerous, raised to a principle, a polytonality which,
dominated by a well established original key, set off in patterns
which are foreign to it and intertwined in skillful counter
point, can only bring a new enrichment to the musical
language.30
Roussel's final style was announced definitively by several
major works, including the Suite en fa (1926), the Concert pour petit
orchestre (1926-27), and the Concerto (1927) for piano and orchestra.
Thereafter a succession of masterworks followed: the third and fourth
symphonies (1929-30 and 1934), the ballets Bacchus et Ariane (1930)
and Aeneas (1935), a setting in English of Psalm LXXX (1928), the
String Quartet (1932), the Flute Trio (1929), and the String Trio (1937,
his last completed work), the Sinfonietta pour orchestre a cordes
(1934) and the Rapsodie flamande (1936). These works represent the
synthesis Roussel had sought through a lifetime of experimentation,
in which the "exteriorisation of his thought is balanced by a hitherto
unequalled interior tension, making the music a highly individual
expression of personal emotion."31 The late works, according to
Eddins,^ are neo-classical in that they emphasize rhythm and move
ment, and approach formal organization through classical means but
30. Albert Roussel, "Reflexions sur la musique d'aujourd'hui," quoted

in Bernard, op. cit., 122 [author's translation].
31. Deane, Albert Roussel, 34.
32. John Marion Eddins, The Symphonic Music of Albert Roussel (Ph. D.
diss., The Florida State University, 1966) (Ann Arbor, Mich.:
University Microfilms Intl., 1966), 209-211.
23
with a more succinct schematization. He adds that " . . . forceful
rhythmic energy emerges as a salient feature of the late style; in
fact, thematic development is restricted almost exclusively to repeti
tion and sequence of motives with prominent rhythmic characteristics."
Eddins' perceptive summary of Roussel's late stylistic features pro
vides a useful complement to Boulanger's earlier observations (quoted
on page 17, above), showing both Roussel's development in new direc
tions as well as demonstrating that certain earlier features were in
corporated into the late style. Among the points noted are these:
Polyharmonies, based on ambiguities within a single tonality.
"Counterpoint" of two or more chordal progressions . . .
Extended tertian formations (ninth, eleventh) resulting from

counterpoint.
Dissonant chromatic embellishments, used especially as substitu

tions for primary chord tones . . .
Ambi-modal and bi-modal harmonies.
Harmonic movement through ambiguous chromatic relationships

and contrapuntal movement, not through traditional relation
ships of chord roots.
Inconclusive internal cadences, and final cadences based on

semi-tonal, non-dominant dissonances.
Preeminence of a single key.
Roussel's language and style were personal and unique.
Essentially an eclectic composer who forged a personal style suited
to his own needs, he was not a leader or a follower of any school. As
a French symphonist, he developed the tradition of Franck and d'Indy

24
although "his abrasive final style is far removed in its attitudes
from the works of the S c h o l a . "33 it would take no great leap of the
imagination to place Roussel firmly in the tradition of French music
stretching back to the seventeenth century clavecinistes. However,
his importance lies in the fact that his work possesses lasting value,
that it is original and unique, and that its integrity and honesty are
apparent at all times. He was able to create a m o d e m and personal
idiom on essentially traditional foundations.
Roussel and the Piano
In an honest assessment of Roussel's work as a whole, one
would be at extreme risk to advance any inflated view of the value of
the piano works. Despite some notable exceptions, which will be
described in the succeeding chapters, by and large, the piano occupied
a relatively minor role in Roussel's compositional output. While he
produced four major works for the piano early in his career (Opp. 1,
5, 14 and 16), his interest and talent followed other directions during
the period of his greatest productivity and maturity, so that among
the later works, only one could be considered even peripherally a
major composition (Opus 49). Furthermore, as a symphonist, Roussel was
not always comfortable in expressing his ideas on the piano, and the
writing is at times not idiomatic; indeed, some of his best writing
for the piano is found in the accompaniments to his many songs.
33. Deane, "Albert Roussel," 275.

25
However, notwithstanding the minor place of the piano in his career,
the solo piano compositions are the work of an important composer, and
often the manifestation of his particular genius can be seen in these
pieces. And while the quantity of the output varied throughout his
career, there are representative works from each of his style periods,
and occasionally these works occupy seminal positions in his develop
ment as an artist.
Roussel's uneven training as a pianist undoubtedly hindered
his ultimate ability to translate his ideas into a convincing pianis-
tic idiom. It can reasonably be inferred that one important deficiency
in his pianistic upbringing was the absence among his teachers of a
real pianist. His mother, his first teacher, was not a professional
musician. Mile Decreme, while a trained musician, was a village
organist who apparently nurtured the young boy's talent with no greater
sustenance than fantasies and potpourris on popular operas and operet
tas of the day. It was not until Stoltz, another organist, pointed out
the dubious musical value of the operatic fantasies he was so fond of
that Roussel was finally introduced to music of the highest rank. Yet
a third organist, Gigout, completed Roussel's pianistic training. It
is not meant to disparage the possible pianistic attainments of these
three organists to observe that it is doubtful, both inferentially
and deductively from contemporary commentary, that Roussel could have
received the kind of understanding of the potentialities and resources
of the piano from teachers who were not themselves primarily pianists.
Gil-Marchex, writing in 1929, after Roussel had completed the piano

26
works through Opus 16 as well as some occasional pieces, developed
a similar argument whose interest is heightened because it provides
the view of a contemporary who was a concert pianist and friend of
the composer.
The inattentive use of the pedal is the only troublesome fault

which would remain for a long time in his pianistic works and
which he would correct only later, entirely by himself, his
piano teachers having unfortunately all been organists and un
comprehending of this imperfection. The performance of some of
his works suffers from it despite the good intention of pianists,
the pedal almost never being treated as a resource of the instru
ment. Its treacheries are especially apparent in legato and
expressive passages where its use is not sufficiently allowed
for . . . or as well in rapid passages where arpeggios pushed
along with too many notes often become with their forced
confluence a somewhat confused noise.3
Roussel also maintained a close relationship with the great
pianist Alfred Cortot over a period of more than twenty years. It
was Cortot who, around 1905, conducted one of the first public perfor
mances of Roussel's music, a symphonic extract entitled Vendanges
(which the composer later destroyed). Roussel also dedicated his Poeme
de la foret to Cortot in 1906»and in 1928 requested that Cortot parti
cipate as the soloist in the first performance of his piano concerto,
a request Cortot was unable to grant because of a previous commitment
for a concert tour abroad. It Is apparent from his published survey
of Roussel's piano works33 that Cortot provided the composer with
34. Henri Gil-Marchex, "La Musique de Piano d'Albert Roussel," La Revue

Musicale X/Numero special (Apr. 1929), 67 [author's translationj.
27
useful and welcome criticisms of his work. Describing Roussel early
in his career as an "uncertain amateur pianist whose youthful ambi
tions do not appear to have gone beyond a repertoire of waltzes and

36
polkas," he notes that Roussel's awkwardness, both as a pianist and
as a composer for the piano, could undoubtedly be traced in large part
to his non-traditional pianistic upbringing. However, by the time of
the Sonatine, Opus 16, Cortot recognizes that Roussel had achieved a
style of writing for the instrument which suited his needs quite well:
The notation of the Sonatine, Opus 16, written in 1912,

makes a case for instrumental writing which is very much more
airy . . . and demonstrates . . . a marked evolution in Roussel's
style.
. . . his ambition, for the first time in his pianistic

work, is crowned with a realization which is perfectly adequate
to the intention which inspires it.37
Unanimity on Cortot's latter point regarding Opus 16 does
not by any means obtain among pianists. Widely divergent opinions
about the suitability of Roussel's works for the instrument have been
expressed in the l i t e r a t u r e . 33 i n SOme cases diametrically opposed
opinions about the same work would tend to cancel each other out, so
the music must be judged afresh by each individual approaching it for
35. Alfred Cortot, "L'OEuvre pianistique d'Albert Roussel," La Musique

Frangaise de Piano, 3 vols. (orig. appeared under same title in
La Revue Musicale XVIIl/Numero special (Nov. 1937), 293-308)
(Paris: Presses Universitaires de France, 1948), III, 113-141.
36. Ibid., 119. 37. Ibid., 132-33 [author's translation].
38. Some of these opinions will be described and considered in the

discussion of individual works in the succeeding chapters.
28
study. As a diligent experimenter, as well as a conscientious and
innate musician, Roussel never displayed less than professional compe
tence in writing for the piano, and quite often he exceeded that
level, even occasionally achieving startlingly original pianistic
effects.
One further point of interest on the subject of Roussel
and the piano is the encouragement he received to write for the instru
ment by the availability of a group of first-rate pianists who were
devoted to the music and the principles of the Schola Cantorum. Chief
among these was Blanche Selva (1884-1942), to whom Roussel dedicated
the Suite, Opus 14. Selva also premiered, in addition to the Suite,
the Rustiques, Opus 5. It would seem, however, that Selva’s liberal
attitude towards new music was limited in view of her reaction to the
Sonatine, Opus 16:
This work offers the usual defect of its composer: the continual
harshness of the harmonic combinations and their lack of rapport
with the melodic character of the theme. The first theme of
the first movement is striking in this regard; the melody and
rhythm are very well drawn, but the surrounding notes ravage
the harmonies. The beauty of the entire passage is thereby
scarcely perceptible.^
Despite such objections, however, another noted pianist, Marthe Dron,
not only accepted the dedication of the work but gave it its first
39. Blanche Selva, "La Sonate," [n.d.], quoted in Louis Vuillemin,

Albert Roussel: L'homme et son oeuvre (Paris: Durand et fils,
1924), 48-49n [author's translation].
29
performance at the Societe Nationale in January 1913. Dron had pre
viously participated at the premiere of the First Sonata for violin and
piano (Opus 11) in 1908.
Other pianists associated with Roussel at various times in
his career included Ricardo Vines, Roland-Manuel, Leontine Bordes-
Pene, Gabriel Grovlez (see also pages 4 and 5), Borowsky (who replaced
Cortot at the premiere of the piano concerto), Claude Duboscq and
Lucie Caffaret who, according to Hoeree , ^ performed the Sonatine
frequently with considerable success. Roussel's last work for the
piano, the Trois pieces, Opus 49, was dedicated to and premiered by
Robert Casadesus.
It is clear, then, in view of the number of pianists who
performed Roussel's works during his lifetime and who were personally
associated with the composer, that his piano works formed a valued
portion of early twentieth century French performing repertoire.
40. Hoeree, Albert Roussel, 33.

Chapter II
Early Works: The Schola and Impressionism
The three works under consideration in this chapter
trace a remarkably quick evolution in Roussel's style from his first
Schola-dominated language to an early manifestation of his budding
impressionism. In each of these works, as well as in his non-pianistic
output of this period, Roussel's attempt to move in new directions is
ever apparent. The progress from the Franckist Opus 1 (Des heures
passent) to the Stravinskian Divertissement, Opus 6, a quintet for
woodwinds and piano, represents astonishing momentum in the space of
just eight years (1898-1906). Remarkable, too, is that Roussel seems
to have been, despite his relative lack of influence upon other
composers, prophetic in his experimentations. As will be seen, the
Rustiques, Opus 5, for example, written during the period 1904-1906,
displays much material that is evocative of Bartok's style in the
1920's. And the Divertissement, from 1906 also, shows early the
particular distinction Roussel brought to his mature works: extra
ordinary rhythmic vitality. As Norman Demuth emphasized, "Rhythmic
ally, it is the direct parent of the music of the 1920's."^1
41. Demuth, o p . cit., 114.
30
31
Des Heures Passent, Opus 1 (1898)
Graves, legeres
Joyeuses
Tragiques
Champetres
It is very much a fortunate circumstance which permits
investigation of this first published work of Roussel. In view of
his apparently extreme self-criticism, which prompted him to destroy
several of his early works, including the symphonic sketch Vendanges
after a performance of the work by Cortot in 1905, it is surprising
that Roussel permitted Des heures passent not only to survive but to
be published. It is clearly a pedagogical work. The material is
derivative, harmonic progressions are sometimes awkward, the musical
ideas are often banal and naive. However, some fascinating glimpses
of future developments are apparent throughout the work and in having
it to study, we are in a very much better position to see the roots
of Roussel's mature language and to understand and appreciate the
great artistic distance he was to travel.
Graves, legeres
The first movement, entitled "Graves, legeres," in which the
"Graves" serves as a short, five-phrase introduction, is an ABA form,
with some internal varied repetitions and a codetta:

32
Intro A Trans B Retrans
mm. 1-16 17-36 37-40 41-53 54-56
g#(ah: g: /b^ : g:
A' Trans B' Retrans A 1' Codetta
57-64 65-70 71-78 79-82 83-99 100-112
(c:) E^/e*: c: g:
Despite the fact that this work was published during the same year
in which Roussel entered the Schola Cantorum, the pervasive influence
of Cesar Franck is immediately apparent in the characteristic
descending semitones and chromaticism of the opening measures
(Example 3). Even more striking is the resemblance between the
Example 3. Des heures passent, "Graves, legeres," Op. 1, No. 1,

mm. 1-6.
poco if
© 1898 J. Hamelle. Used by Permission of the Publisher,

Theodore Presser Company, Sole Representative U.S.A. & Canada.
33
principal motive developed in the introduction to the fugue of Franck's
Prelude, Chorale and Fugue and the figure used to embellish the
dominant which closes the "Graves" introduction in Des heures passent
(Example 4):
Example 4. (top) Cesar Franck, Prelude, Chorale and Fugue, mm. 120-
122. (bottom) Roussel, Op. 1, No. 1, mm. 13-16.
sopra
<spw.,~ «

There are, however, distinctly Rousselian touches announced.
The work is in G minor, but the tonality implied in the opening
phrase is G sharp minor (with portions of it spelled enharmonically
in A flat minor). The expanded harmony which was to be a hallmark of
Roussel's later style is prefigured here by the ambiguous tonal center
of the opening phrases. Furthermore, the tritone relationship between
the deep C sharp bass note of the first two measures and the key of
the piece is indicative of the particular fascination that that inter
val held for this composer.^ Also to be noted is Roussel's facility

34
in the handling of the contrapuntal movement, and the individual
character and independence of the parts and their invertibility
(e.g., soprano line, first phrase, bass line, second phrase, Example 3,
above). In the final phrase of the "Graves" introduction (Example 4,
bottom), there is also a brief canonic relationship between the outer
parts. The contrasting manner in which each of the canonic entries is
resolved into the dominant harmony is also of interest, the upper voice
seemingly headed into a different tonal area only to be reunited with
the dominant at the conclusion of the phrase.
The transition to the "legeres" portion of the piece is
accomplished by means of a brief rhythmic figure which resolves into
a diminished seventh pianistic flourish. The A theme itself (Example
42. Historically, the term "tritone" refers to the interval formed by

three successive whole tones, i.e., the augmented fourth. How
ever, in more recent times, the practice of expanding the term to
include the inversion of the augmented fourth, i.e., the dimin
ished fifth, while departing from historical practice, has become
widespread among both scholars and music educators. Examples of
this practice can be seen in the following work on the subject of
Roussel's symphonies, in which diminished fifths are referred to as
tritones: John Manduell, "Albert Roussel (1869-1937)," The
Symphony, 2 vols., ed. Robert Simpson (New York: Penguin, 1977), II,
106-107 and 110-111. In addition, the following textbooks, used in
undergraduate theory-composition courses, refer to the augmented
fourth and the diminished fifth interchangeably as tritones: Justine
Shif-Cliff, Stephen Jay and Donald J. Rauscher, Chromatic Harmony
(New York: The Free Press, 1965), 126-27 and George Thaddeus Jones,
Music Composition (Evanston, Illinois: Summy-Birchard, 1963), 59-
61 and 98-99. In accordance with such recent practice, therefore,
the term tritone used throughout this work should be understood to
mean either the augmented fourth or the diminished fifth; the con
text, often with supporting examples, will always make clear which
of the two intervals is being discussed.
35
5) is a simple two-bar figure whose chief distinction is its easy
rhythmic lilt. The second measure of the theme (measure 30) is
Example 5. Op. 1, No. 1, mm. 29-30.
(c) 1898 J. Hamelle. Used by Permission of the Publisher,

Theodore Presser Company, Sole Representative U.S.A. &
Canada.
notable for the presence of the augmented fifth on the first beat
followed by the diminished fifth on the second. Both intervals occur
within the harmonic context of a diminished seventh of the natural
submediant, further complicated by the presence of the sharped sub
mediant appoggiatura in an upper voice. Development of the opening
rhythmic figure leads to a transition to the B theme (Example 6), a
Example 6. Op. 1, No. 1, mm. 41-44.

Theodore Presser Company, Sole Representative U.S.A. &
Canada.
36
graceful, light dance in triple meter in the relative major. Roussel's
instincts for color by chromatic alteration are apparent in the alter
nating use of the flatted and sharped sixth degrees of the scale in
the lower voice, as well as the presence of the sharped fourth step
(measure 44), which also provides a certain piquancy against the
natural fourth step in the upper voice.
An abbreviated return to the A theme is brought about by a
submediant trill which becomes the dominant in the home key. An ac
celerated sequential development of the first rhythmic element of the
A theme leads to a new transition over a chromatic descending bass
line which recalls the "Graves" and which, upon cadencing in C minor,
introduces a new dotted rhythmic figure. The transposed return of the
B theme incorporates the new dotted rhythmic figure in both melody
and accompaniment (Example 7). The bimodality of Roussel's future work
Example 7. Op. 1, No. 1, mm. 71-74.
(2)1898 J. Hamelle. Used by Permission of the Publisher,

is prefigured here in the simultaneous presence of both E flat major
and E flat minor (measure 71). Further variety is provided by the
contrasting harmonic-contrapuntal line of measure 73. Continued
development of the B theme by inversion and rhythmic elaboration leads

37
to a new transition by which the return is prepared by statements of
the A theme in the subdominant over a new thematic accompanimental
element ("marcato") which in effect serves as a new counterpoint to
the theme.
The final return of the A theme is varied by the presence
of a new descending chromatic bass line, again reminiscent of the
"Graves'1 theme. Some development of the first rhythmic element of
the A theme extends this return by several measures and leads direct
ly into a codetta which begins on the dotted rhythmic figure of the
second element of the A theme in augmented sixth harmony over a trill
on the flat supertonic. A perfunctory working out of the first
measure of the A theme, involving primarily tonic diatonic harmony,
closes the movement.
The pianistic style of Opus 1, No. 1 derives in large measure
from Franck and other romantic composers for the piano in its attempt
at lush harmonies and full chordal textures. The accompaniment to the
A theme relies principally on a simple broken chord style or on legato
octaves. There is also an occasional use of sweeping arpeggiated
figures. Except for the requirement of a somewhat lighter touch in
the B section, there is little textural contrast. To its credit, the
pianistic style is not quite as overblown as some of Franck's and
d'Indy's keyboard writing is. A concern for form with carefully laid
out themes, continuous development and clearly delineated transitions
are positive Scholist influences. Despite an apparent attempt in the

38
"legeres" portion to impart some vitality in the use of dotted
figures, there is little of the rhythmic vigor of Roussel's later
style.
Joyeuses
The second piece of the suite, entitled "Joyeuses," is,
significantly, in C sharp minor, thus forming a tritone relationship
with the key of the first movement (G minor). Its section designations
would indicate a simple arch form:
A Trans B Trans C(A)
1-12 13-16 17-32 33-38 39-50
c #: E: F: ... g#: E: (A:)
Trans B' Trans A (da capo) Codetta
51-54 55-70 71-76 77-88 89-93
F#-A: (B^): ... . .. c#:
However, the effect is that of an expanded ABA because the similarities
between sections C and A in both spirit and thematic figures give the
effect of a return to the A theme at C. On the other hand, the materi
al in section C merits separate labeling because of significant differ
ences in key, the contrasting direction of thematic figures, the
introduction of new themes and considerably more rhythmic activity,
especially in accompanimental figures.

39
Marked "allegretto non troppo," the A theme (Example 8)
consists of a descending arpeggiated figure followed by an upward leap
Example 8. Des heures passent, "Joyeuses," Op. 1, No. 2, mm. 1-2.
All?* nan ireppo
(^1898 J. Hamelle. Used by Permission of the Publisher,

of a major seventh. The curious harmonic progression of the theme —
I-V-I-IV — is somewhat abrupt and awkward, but that seeming awkward
ness, together with the theme's playful, folk-like quality, is somewhat
reminiscent of Chabrier. The theme is subjected to an extended
sequential development on unresolved dominant harmonies with a bass
movement in tritones. At one point in the sequence, a four-measure
series of augmented triads gives a feeling of some momentum, but is
resolved in a perfunctory and abrupt transition consisting of a chro
matic scale run in contrary motion which ends the section. Curiously,
there is no contrapuntal activity anywhere in the section to relieve
the monotony of the simple bass-chord accompaniment. Also lacking is
any of the harmonic piquancy or originality that can be evident even
in these early works.
The B theme, in the relative major (E), is a rare and fleeting
example of Roussel as a late Romantic composer in the Liszt mode. The

40
lyrical passionate theme is accompanied by a rich pianistic broken
chord figure (Example 9). The gentle romantic passion of this theme
seems to be unique in Roussel's work. The poignancy of the added
Example 9. Op. 1, No. 2, mm. 17-24.
?<»• <?*).

ninth appoggiatura in measure 21 recalls similar effects in both
Brahms and Wagner. Unusual for Roussel, but in keeping with the
general Lisztian Ursprung of the example, is the subsequent develop
ment of the theme by repetition in transposition. After the repeti
tion, a slightly more animated transition featuring the augmented
triad in accompaniment, a more personal Roussel feature, leads to a
semi-cadence in G sharp minor, establishing the tonality of the ex
pected return.
Section C is essentially an elaborate variation of the A
theme, a development, in fact, of the characteristic opening rhythm.

41
The section begins in the dominant minor, but the kinship with the
opening figure of the A theme provides the effect of a return (Example
10). However, both melody and harmony undergo extensive reshaping
Example 10. Op. 1, No. 2, mm. 39-46.
© 1 8 9 8 J. Hamelle. Used by Permission of the Publisher,

with the addition of new chromatic alterations, the forsaking of the
triplet eighth note figure of the theme in the upper voice and the
addition of that rhythmic figure, both in ascending and descending
forms, in the accompaniment. The new melody beginning in measure 41
is based loosely around the original A theme, but it also has some
thing of the flavor of the lyrical B theme, a relationship that gives
more unity to the entire movement as well as a greater sense of the
developmental character of this section.
Modulating through E major and A major and cadencing, after
a rising sequential pattern, in F sharp minor, Roussel reaches the

42
emotional climax of the piece in a manner reminiscent of Chopin in
the ballades, specifically through an elaboration and intensification
of the B theme. The theme is first restated in octaves amplified
harmonically and rhythmically by a triplet figure which completes the
rhythmic motion provided by a widely spaced triplet accompaniment in
broken octaves (Example 11a). After the "appassionato" statement, the
theme is repeated "tranquillo, una corda" (Example lib) in yet another
Example 11. (a) Op. 1, No. 2, mm. 55-58; (b) mm. 63-68.
(a)
I
I

version of the theme, in a two-voiced texture of sixteenth note quad
ruplets. The sixteenth notes of the melody give way to legato octaves
43
in the second phrase against a continuing active counterpoint in
the lower voice. The A theme, jia capo, closes the movement.
"Joyeuses” displays a certain vitality in its lively open
ing figure, in the numerous off-beat accents, and in the increased
motion and interplay of the parts in section C, but the effort
feels rather more contrived than compelling. Hampered perhaps by
the often obvious and uncomplicated harmony, there is little of the
inner rhythmic compulsion that energizes Roussel's later work. This
movement certainly demonstrates an idiomatic pianism in the Chopin-
Liszt tradition, but it is for Roussel a fleeting style, one he would
soon discover was unsuited to his personal language.
Tragiques
A somewhat more personal style is announced in the third
movement of the suite, entitled "Tragiques." The work is in A flat
major, but the introductory chords combine the harmonies of A flat
major and C minor, resulting in a rather surprising tonic seventh
chord opening. The effect is almost bitonal, somewhat like the
dramatic opening chord of Roussel's symphonic poem Pour une fete de
printemps of 1920 (see Example 2, page 21, above), although here rather
more diluted. The piece consists of an introduction and two distinct
sections in a bipartite structure, all of which is repeated in varia
tion after an extended retransition which serves as a central devel
opmental episode:
44
Intro A B Trans Retrans/Development
1-8 9-24 25-41 42-43 44-51
A*: f: Ab : E^: A:
Recap (Intro) A' B' Coda (Intro Th)
52-59 60-71 72-77 78-86
A>: a>: E ^: Ab:
The introduction divides into two figures (Example 12),
the dramatic opening chords followed by an expressive, plaintive
Example 12. Des heures passent, "Tragiques," Op. 1, No. 3, mm. 1-3.
(c) 1898 J. Hamelle. Used by Permission of the Publisher,

Lisztian motive. A transposed repetition follows in F minor, the
minor seventh thus resulting from the combination F minor-A flat
major somewhat diminishing the pungency of the opening major seventh
between A flat and G. The introduction ends with a forte semi-cadence
on the dominant seventh with an added A flat which is left tied to
sound alone in a Schumannesque effect without either the drama or the
wit which Schumann was able to extract from this technique (for
45
example, "Paganini" from the Carnaval, the "Finale" of the Papillons
and the "Finale alia Fantasia" of the Abegg Variations) .
The A section consists of two themes as well, the first of
which, shown at Example 13, begins as an inverted pedal in the soprano
Example 13. Op. 1, No. 3, mm. 9-14.

on G, supported in the alto and tenor by C minor harmonies in the
first two measures against the A flat major tonality of the bass, thus
continuing the same bitonal implication of the introductory chords.
After three measure-long statements of the pedal tone, a slow mordent
like elaboration on the tones F and G evolves into the theme proper
against a distinctive contrapuntal figure in the alto. The second
theme of the A section evolves out of the duality formed by the
soprano-alto counterpoint. A pedal-like figure continues in the
soprano, slowly descending from B flat (Example 14), while the alto
develops a new figure. A peaceful, flowing broken chord pattern is

46
Example 14. Op. 1, No. 3, mm. 17-23.
(c)1898 J. Hamelle. Used by Permission of the Publisher,

maintained in the accompaniment throughout this section.
After an abrupt modulation to the dominant, a slow march
begins the B section on a thematic allusion to the "Graves" theme of
the opening movement of the suite (Example 3, page 32, above). Example
15 shows the march theme and then, in measure 27, the rhythmic motive
which arises from it. The widely spaced theme, characterized more by
a gentle rhythmic undulation than by any distinctive thematicism, is
subjected twice to variation by rhythmic elaboration in the old
"double" tradition, first by the addition of a triplet figure in
counterpoint against the march theme and then, with the theme still in
triads but in a lower voice, combined with the rhythmic figure of the
second portion of the B theme ( f T l ). In addition, a rhythmic

47
Example 15. Op. 1, No. 3, mm. 25-29.
mf

flourish in thirty-second notes is appended to the counterpoint at
several points.
The juxtaposition of two major triads in first inversion
a semitone apart against a tonic-dominant pedal resolving into a
diminished triad in root position, provides some harmonic fresh
ness in the march theme. A further distinction results from the
augmented second in the melody between the last two chords of the
three-chord motive. However, Roussel bypasses the opportunity for
greater harmonic variety or contrapuntal pungency in the two vari
ations already mentioned, instead allowing the rhythmic variations
to proceed along essentially the same harmonic lines established in
their original appearance. The section ends on a modulation to D flat
by way of a dominant seventh chord in third inversion which resolves
enharmonically to C sharp minor. A quick series of modulations in a

48
rising sequential pattern provides an impressive fortissimo climax
leading to a retransition in A major based upon the second portion
of the A theme, which is developed by elaboration of the accompaniment
(Example 16). The theme is stated in the new key without variation
Example 16. Op. 1, No. 3, mm. 42-45.
(g) 1898 J. Hamelle. Used by Permission of the Publisher,

Theodore Presser Company, Sole Representative U.S.A. & Canada
in the tenor (starting at measure 44) against a busy, rather over
blown accompanimental figure in the right hand's upper voices. The
double-note accompaniment is an effective pianistic figure which seems
curiously inappropriate and pompous in this context. However, the
harmonic variation realized in aggregate by the new figure is note
worthy, especially, for example, the augmented ninth chord on the
second beat of measure 44.
The recapitulation of the introduction includes some inter
esting harmonic variations. For example, the restatement of the

49
expressive motive, the second figure of the introduction, is based on
an F flat major chord, doubtless an enharmonic nod to the A major
tonality of the retransition. The A theme is recapitulated without
significant variation, but in the dominant rather than the tonic in
order to preserve the key relationship of the exposition, because the
B section is brought back in the tonic, which is the first return to
the home key in the recapitulation. Motivic elements from the B
section are brought back in a reversed order and a slightly modified
version of the introduction serves as a coda to the work.
"Tragiques," like its preceding numbers in the suite,
displays Roussel's well-developed sense of formal organization, with
clearly defined themes and well-marked transitions. However, the
somewhat athematic pedal-like character of the first part of the A
theme provides a glimmer of Roussel's middle period movement towards
greater sparseness in writing and also of his later predilection for
movement about a fixed point. The pianism of the movement represents
more of the traditional romantic style already noted. The technical
requirements are modest, but include the ability to produce rich
chordal textures as in the introduction, to differentiate between the
predominant pedal tone in the upper voice of the A theme against
supporting harmony or counterpoint in the lower voice with the same
hand, to provide coherence to the disjointed hand-over-hand character
of part of the B theme and to execute the rapid descending arpeggio
figures in the development of the B theme. In addition, the double
note figure of the retransition calls for careful control and

50
coordination to overcome the built-in balance problems between the
accompaniment and the tenor melody and the ability to produce a some
what light, detached sound in the double notes against the legato
lower voice.
Champetres
The fourth and final movement of this first published work
of Roussel is a lively fugue in G major entitled "Champetres." It is
in some ways the most interesting movement of the suite, for despite
the triviality of the melodic material and the often perfunctory
harmony of the piece, its contrapuntal invention and rhythmic vitality
serve to energize and distinguish it. In a sense, "Champetres" repre
sents the mature Roussel in utero, as it were, because the two features
which will define and give distinction to the greatest works of his
maturity are rhythm and counterpoint.
Expo I Episode I Expo II
1-12 13-50 51-64

b
G: e: E v: g: C: F: C:
Episode II Trans . Expo III Coda
65-96 97-104 105-113 114-133
D: f#: A: D: G:
The fugue subject itself (Example 17) links Roussel with the
French clavecin tradition of the eighteenth century, specifically with

51
Example 17. Des heures passent, "Champetres," Op. 1, No. 4, mm. 1-4.
Anim& A 6
(S) 1898 J. Hamelle. Used by Permission of the Publisher,

Francois Couperin le Grand (1668-1733). The colorful use of the
lowered seventh degree in the third measure of the subject, giving it
a mixolydian flavor, could well have been inspired by Couperin's
similar treatment of a fugue subject from his Messe a 1'usage des
couvents (1690) for organ (Example 18). There can be little doubt that
Example 18. F. Couperin, fugue subject from Messe a 1'usage des

couvents.
at some point during his four years of organ study with Gigout, Roussel
encountered this piece and perhaps consciously or unconsciously,
offered this tribute to his great predecessor.
The subject consists of two motives, labeled A and B in the
example, which will undergo separate development. The exposition is
in three voices, although most of the piece is written in two parts.
The tonal answer is accompanied by a countersubject with three motivic
elements (Example 19 — C, D and E ) . Throughout the exposition, in
which the three statements of the subject enter in turn with no

52
Example 19. Op. 1, No. 4, mm. 4/5-8.
L 0 E.

transitions, Roussel maintains a balance between G major and the
mixolydian mode.
The first episode, which follows immediately upon the third
subject entry, begins with a three-voice texture which it abandons
after a few phrases in favor of two voices. Figure C appears, fol
lowed by figure A in the dominant with somewhat modified harmony. A
modulation to E minor is brought about in development of the B theme
in its original form and in a short allusion to it in inversion.
Once the new key is firmly established, a complete statement of the
subject appears against fragments of the countersubject. A combination
of the two prevalent keys of the movement occurs when figure A from
the subject enters in G major in the soprano against a reiterated
broken octave E in the bass. Example 20 shows an entrance of the sub
ject in inversion against the inverted countersubject. A development
of the rhythmic figure J J 1 from the subject in a sequential ascending
modulatory pattern against a descending bass line in semitones leads
to a free arpeggiated section in the right hand. Gradually moving
towards E flat major, Roussel achieves an effective and witty return

53
Example 20. Op. 1, No. 4, mm. 31/32-35.
JL

of the exposition. Example 21 shows the conclusion of the arpeggiated
transition section and the climactic statement of figure A of the
subject in E flat against an A in the bass which serves as an appoggia-
tura to the dominant, which is itself a tactical delay to heighten the
Example 21. Op. 1, No. 4, mm. 48-54.
, m IT'£ : -fc- .
/)« t l - h . V . L-------- T-- . ----- - 'tT-
‘T
- • v — 1 -1 1—
ff p
4-1-
------ J - ^ J — - t d 3 — J=

54
tension for the anticipated E flat bass tone. After a brief resolution
of the appoggiatura to the dominant in measure 50, the tonic is finally
sounded in the bass coinciding with the beginning of a remarkable
stretto passage in which elements of the subject, rather than entire
statements, are overlapped with each other in contrasting keys.
Throughout the lengthy episode which follows, elements from
both the subject and countersubject are presented in a variety of
keys and varied by inversion and rhythmic alteration.
Another interesting and technically adept passage occurs
before the final reexposition (Example 22). Three statements of
Example 22. Op. 1, No. 4, mm. 77/78—89.
£==-T—

55
figure A from the subject in, respectively, D major, F sharp minor
and A major, lead, by way of the lowered seventh step (thus bringing
back the mixolydian flavor as well), to a new episode based upon a
dominant pedal elaborated into a four-note ostinato accompanimental
figure in D major. Over the four-note ostinato (which begins in measure
84), figure A is presented in several variations, including by direct
inversion and by altered inversion (the latter, shown in Example 23,
alludes to the mixolydian through the C natural in measure 91 as a
preparation for a return to the original G major tonic). A retransi
tion emerges out of a reiteration of the first four notes of the altered
Example 23. Op. 1, No. 4, mm. 90/91-92.

inversion. The final reexposition in the tonic occurs after a long
descending scale passage covering over four octaves. The three sub
ject entries are treated in an accelerated stretto combined at the
final statement with fragments of the theme in inversion.
A coda begins over a dominant pedal and establishes the
final predominance of the rhythmic figure from the subject. The
figure passes through E minor and A minor, is fragmented in a hocket-

56
like passage in several voices in the tonic, and climaxes on a rather
melodramatic German augmented sixth chord in third inversion which
dissolves, by way of some rhetorical pianistic flourishes based on
figure B, into an abrupt final cadence.
With the exception of the ending's forced brilliance, the
pianistic style of "Champetres" is clear, the textures transparent,
the voices well spaced for clear delineation and the use of the ex
treme registers of the piano for color is effective. Mild technical
demands include frequent crossing of the hands, an extended scalar
passage in thirds, some crossed voices and simultaneous contrasting
articulation within and between the hands.
Conte a la Poupee (1904)
Roussel's next work for the piano, Conte a la poupee, with
out opus number, but occuring between Opus 4 and Opus 5, was published
under the auspices of the Schola Cantorum in 1904 in a private printing,
apparently the only form in which it ever appeared. Most writers,
when referring to the work at all, indicate that it was published as
part of a collection entitled L'Album de la Schola Cantorum (1 9 0 4 ) . ^
However, Dorn Angelico Surchamp, who graciously provided a copy of the
piece for this study, wrote in his monograph on the c o m p o s e r ^ that
43. For example, Deane, Albert Roussel, 122; Dumesnil, L'aube, 479;
and Paul Landormy, "Albert Roussel (1869-1937)," trans. Manton
Monroe Marble, The Musical Quarterly XXIV (1938), 523.
44. Surchamp, op. cit., 146.

57
it was published as a children's collection by the Schola under the
title Album pour enfants petits et grands.
In any event, Conte a la poupee is a modest work of just
three pages comprising 38 measures. It is a gently flowing berceuse
(except for being cast in quadruple time) which lies well for a small
hand. Despite its limited intentions, there are a number of advances
in it which show Roussel’s growth since Opus 1 six years earlier. The
piece is written in three distinct parts with a da capo recapitulation
of the A section:
A B A (da capo) Codetta
1-8 9-26 27-34 35-38
D b: F: A^-f: F: D^:
The piece is in D flat major, beginning on a dominant figure
of undulating rhythm (Example 24). The theme begins as an off-beat
Example 24. Conte a la poupee, mm. 1-6.

58
repeated dominant tone which evolves into a melody at the second
measure. The strong contrapuntal figure in the bass to which the
accompanying rhythmic pattern yields at measure two gives the effect of
a double melody, showing how Roussel's contrapuntal thinking had
evolved. The counterpoint here seems a part of the language rather
than a formal procedure, and the piece occasionally takes on the
character of a two-part invention.
A secondary dominant ninth chord on the mediant, embellished
and dissolved, leads to a bright cadence in F major to start section B
(Example 25). The contrast with section A is marked not only by the
key change but also by increased rhythmic activity and a more outgoing
lyricism. The melodic figure in the lower voice in measure 10 ("en
dehors") is the principal motive of the section. Portions of it im-
mediately undergo development by fragmentation and passage through
various scale degrees with changing key implications until it reaches
another complete statement in A flat major against F minor counter
point. Increasing volume and rhythmic activity lead to a climax in
the home key of the section, subito piano, which begins a strict canon
in stretto at the lower octave for four measures (Example 26). The
59
PP
raised fourth scale degree is prominent both in the canon and else
where in the section. In several instances, a tritone is formed both
in harmony and in melodic passages, with greater frequency than chance
would have it. Roussel's increasing use of the interval is a harbin
ger of his future employment of it both to create tonal instability
and to provide color. Roussel's characteristic use of the intervals
which Boulanger pointed out occur frequently (see page 17, above),
the augmented fourth, the minor ninth and the major seventh, results
in part from the free movement of the voices each following their
independent directions.
After a gradual relaxation of the rhythmic activity and tempo,
section A is recapitulated jda capo and a short codetta based on the
first measure of the piece closes the work.
Of interest harmonically is the manifestation of a predilec
tion on the part of the composer to expand the harmonic sense of his
music by altered scale degrees. As has already been noted (pages 14ff.,
above), his future interest in Indian music would result in an outlet

60
for his natural inclination to expand the usual limitations of tonality.
Examples of Roussel's use of altered tones abound in Conte a la poupee.
Some of these uses are shown in Example 27.
Example 27. Conte a la poupee, mm. 13-14; mm. 16-17; m. 22.
ttmpne trtic
From a pedagogical standpoint, Conte a la poupee serves its
purpose well. It provided an early twentieth century pianist of modest
attainment the opportunity to study a modern work that incorporated
the need to play lyrical legato passages in a modern harmonic idiom
with considerable independence between the hands in a relatively complex
contrapuntal framework. Beyond that, this minor work serves as an indi
cator of some of the growth Roussel had undergone during his years of
study at the Schola Cantorum, specifically, expansion of the harmonic

61
language by the alteration of scale degrees, continued refinement of
contrapuntal technique, and increased use of the tritone and other
characteristic intervals.
Rustiques, Opus 5 (1904-06)
Danse au bord de l'eau

Promenade sentimentale en foret
Retour de fete
Rustiques, Opus 5, which Roussel worked on for a period of
two years, represents an astonishing advance over his previous key
board works. Extraordinary progress is evident in every aspect of
this work: its expanded and subtle harmonic language, the sophisti
cation and integrity of its contrapuntal basis, the ingenuity of its
rhythm, and its stylistic and idiomatic pianism.
Roussel began work on the suite in 1904 during vacation in
Cormeille, near Argenteuil in the north of France on the Seine. He
had at first envisioned a suite of four movements entitled Promenades,
apparently at the suggestion of his friend Auguste Serieyx, to whom he
wrote on October 8, 1904: "I am about to finish one of the four pieces
which will constitute your collection of 'Promenades'."^-* About a
month later, Roussel specified his plan for the suite in another letter,
this addressed to Mile Jeanne Taravant, Serieyx's future wife, in which
he s a i d ^ that he had completed two of the four pieces of the suite,
45. M.L. Serieyx (ed.), D'Indy/DuParc/Roussel: Lettres a Auguste

Serieyx (Lausanne: M.L. Serieyx and Editions du Cervin, 1961), 63
62
number two ("Promenade sentimentale en foret," which was its final
title) and number three ("Dans la prairie," which probably became
"Danse au bord de l'eau," the first movement of the suite's final
form). "The two others ('Depart, ou Promenade aux champs,' and
'Retour au crepuscule') ,11 he went on to say, "are not yet sketched
out."^ So the composition dates of the first two movements of the
suite can be set at October-November 1904. Roussel apparently aban
doned the project for a time, since the final movement, "Retour de
fete," was not completed until 1906.^® Blanche Selva gave the work
its premiere on February 17, 1906 at the Societe Nationale in Paris.
Danse au Bord de l'eau
It' cannot be definitively established if "Danse au bord
de l'eau," the first movement of Rustiques, originally bore that title;
however, the extraordinarily apt rhythmic rendering of the ebb and flow
of water, shown in Example 28, gives some credence to that source of
inspiration. The undulating rhythm of the sea, of waves washing ashore,
is here captured by Roussel with considerable acuity in what amounts
to an ostinato rhythmic pattern: three slow beats, followed by the
subtly accelerated movement of a triplet in the space of two more
beats. The five-eight meter of the piece is a natural result of the
ostinato figure, rather than an arbitrarily imposed irregular meter.
46. Ibid., 64-65. 47. Ibid., 65 [author's translation].
48. As stated by Surchamp, op. cit., 29, Cortot, op. cit., 126, and
Gil-Marchex, op. cit., 71.
63
Example 28. Rustiques, "Danse au bord de l'eau," Op. 5, No. 1,

mm. 1-10.
Assez aniiuc el enns rlgrueur (J>= i -jh)
S>‘A 2s.
i
e'itS. iSSa.
i
© 1 9 0 6 Durand S.A. Used by Permission of the Publisher,
There are precedents in the French literature for the use of this
meter in, for example, Charles Bordes' Caprice a cinq temps (ca. 1890),
the last movement of d'Indy's Symphony in B flat, Opus 57 (1902-03),
and even Chopin's experiment with five-four meter in the "Larghetto"
of his student Sonata, Opus 4 (1828).
The piece is again cast in ABA form with a short introduction
and a coda, but the sections are more expansive than those of
Roussel's earlier works for the piano.

64
Intro A Trans B
1-2 3-25 26-36 37-63
d(aeolian): e^: b ^ : b :b^:b:D:E^:c#:
Retrans A’ Coda
64-78 79-103 104-118
g (dorian): f#(aeolian): E^/e^: d(aeolian):
Written in D minor, "Danse au bord de l'eau" is almost
totally devoid of accidentals through its first sixteen measures,
giving it a somewhat aeolian character (i.e., D natural minor).
Roussel was sometimes accused of writing music without proper bass
lines ("fausses basses"), i.e., without a clear delineation of harmonic
movement based upon the traditional function of a bass line moving
below and defining harmonic progression. This movement provides an
example of the "problem" critics encountered. Clearly, the piece defies
a strict harmonic analysis based upon the classical technique of de
scribing harmonic function upward from a given bass line. Rather, a
harmonic analysis of this work must be addressed to the implied root
movement of the progressions, as exemplified by the implicit tonic-
dominant movement of the opening measure. Roland-Manuel also pointed
out, in defending Roussel from the "fausses basses" critics, that
Roussel's affection for subtly balanced rhythms in a light texture pre
clude the use of bottom-heavy well-grounded basses which would destroy
the fluidity of the rhythmic movement.^

65
In any event, the aggregated tonic harmony of the first
three beats includes the ninth, and the dominant harmony which follows
can be said to include the thirteenth, especially in light of a sub
sequent statement of this figure with the harmony amplified (Example
29) to include the thirteenth with the tonic as well as with the fol
lowing dominant harmony, resulting in a pleasantly acrid quality.
Example 29. Op. 5, No. 1, m. 11.

It is also interesting to note Roussel's frequent use of the interval
of the fourth, harmonically in part A and, as will be seen, melodical-
ly in part B.
The flowing legato theme of the A section consists of two
phrases, the second of which, upon repetition, is transposed up a sixth,
while the accompanying harmony is raised only a second, providing an
interesting new view of the theme (Example 30). Both melody and accom
paniment proceed along slightly altered paths, but, by the conclusion
of the phrase, these converge once more with their original intervallic
relationship intact and in the original key.
49. [Alexis] Roland-Manuel, "Albert Roussel," La Revue Musicale IV/1

(Nov. 1922), 21.
66
Example 30. Op. 5, No. 1, mm. 17-21.
. . C T 3o ^ , : , j _JL_/ i
^ j — T -
r - i y
i h ,
j ..
**te. •3Ql •*4. *50 . * 90 . **& » ‘ia .
• o l« v ti 1% to a rd in t
*90 .
m
© 1906 Durand S.A. Used by Permission of the Publisher,
The transition which follows is notable for a number of
interesting impressionistic harmonies and progressions. Measure 26
(Example 31) features a tritone relationship between the roots of the
G sharp minor to D minor progression. Subsequently, the G sharp minor
chord progresses to a C sharp diminished eleventh chord. Following that,
Example 31. Op. 5, No. 1, mm. 26—31.

Un psu retenu (J= 11a)
Benuuoup plus yI»o
* 50 .
•oordlnc
67
the transition to E flat minor is accomplished by the enharmonic
spelling E flat-A flat for D sharp-G sharp. The modal character of
the opening section is continued in the transition with the E flat
natural minor (aeolian) progression, leading to an arpeggiated figure
(measure 31) based upon embellished natural dominant harmony with a
raised seventh (A natural). A transposition of the E flat aeolian
progression to B flat minor is effected and the following arpeggiated
figure based upon E flat leads by way of its fifth (A sharp by en-
harmony) as leading tone to the new key of the following section, B
minor. The final pivot into the new key is an augmented triad based
on D.
Further evidence of Roussel's nascent impressionism is the
proliferation of performance and tempo indications, as well as the
frequent meter changes. In the course of the transition the meter
moves from 5/8 to 3/8 to 3/4 to 4/4 before settling into 3/4 for the
beginning of the B section. In addition, from the opening "assez
anime et sans rigueur," the speed of the piece is gradually increased:
"un peu retenu," "beaucoup plus vite," "au mouvement," "plus vite,"
and then "tres leger et librement" to begin the B section at double
the speed of the opening. Metronomic indications are provided to
guide the accelerando.
The first theme of the B section, in B minor, is as much
rhythmic as melodic (Example 32). The figure m 17)

SjU
will per-
vade the entire section through many melodic, harmonic and accompani-
mental transformations. The individual directedness of each of the

68
Example 32. Op. 5, No. 1, mm. 37-42.
T rc * l t g f r e t llh re m e n t f j = rm )
I e n l e r e r l a ?ou rd ln *
to «to ISIiS. sax
eto
eto *to ftto eto eto

three upper contrapuntal parts is a striking feature of this theme
area. Also of note is that upon repetition (Example 32, measure 40),
the alto is changed to F natural, forming a tritone with the soprano,
while the tenor resolves into each weak beat with a tritone. An exam
ple of the latter occurs at measure 40, where the D sharp on the first
beat progresses to G sharp-D natural; similar movement takes place
in the three tenor figures which follow. Once more, at measure 42,
Roussel uses the opportunity to alter his theme by the addition of a
tritone where one had not existed previously (by the substitution of
F natural in the alto for the F sharp of measure 39).
The second theme of the B section, shown in Example 33,
enters in the key of B flat minor through the subdominant ninth. The
rhythmic figure of the first theme is employed here as well. Further
unity is achieved melodically by the modified inversion relationship

69
Example 33. Op. 5, No. 1, mm. 43-46.
eto. eto
Ati Motiv* P r e s s e s e t re te n e z d e s u ite

between the opening motives of the two B section themes (compare,
for example, measure 37, Example 32, with measure 43, Example 33). At
measure 44, the evasion of the tonic at the fourth beat after the pre
vious dominant third inversion chord is of interest. The augmented
fifth formed by the E flat-B natural in measure 46 is characteristic
and, in addition, provides a pivot for a return to B minor.
The first part of the B theme returns transposed up an
octave in the melody with a sixteenth-note elaboration in the alto
and a new harmonic underpinning stated in eighth notes in the lowest
voice (Example 34). The increased activity provides greater momentum
to the theme and emphasizes the dance-like character of the piece. The
new rhythmic figure introduced at measure 51 ( ) is some-
what akin to the rhythm of the B theme itself, being a compressed, ac
celerated version of it in diminution. The characteristic leap of a

70
Example 34. Op. 5, No. 1, mm. 47-51.
A n Mouv*
jp ilM
L PP
sourdine
M
en le v e z la toerdine
@ 1906 Durand, S.A. Used by Permission of the Publisher,

minor ninth (F sharp to G) which separates statements of the rhythmic
figure, adds to the textural and harmonic complexity of the entire
B section, contrasting with the relative harmonic serenity of the
A section.
The new rhythmic figure accompanies an amplified return of
the first B theme in D major. The triplet figure of the theme is
replaced with a simpler duplet in light of the increased accompani-
mental activity. Example 35 shows the artful transition through the
unchanging inner harmony of C sharp and B minor combined in an arpeg
giated sweep, while the outer voices move in contrary motion from
F sharp-B natural (bass-soprano) through the augmented fifth F natural-
C sharp to an E natural-D natural climax leading to a statement of the
theme in E flat. The final transition to the key of E flat (measures

71
Example 35. Op. 5, No. 1, mm. 54-56.
ffc'ica.

54-55), which in notation appears abrupt, is in sound very logical
because of the strong tendency of the augmented sixth formed by
E natural (F flat by enharmony)-D natural to resolve outward to the
octave E flats.
A similar transition figure leads to a statement of the
second B theme in C sharp minor accompanied by a return of the new
rhythmic figure which, as shown in Example 36, serves as a transition
to still another version of the second B theme with changes in voicing
and in the accompanying rhythm. The volatile intervals in measure 62,
the augmented fourth E natural-A sharp in the upper voices on the second
beat and the augmented fifth D natural-A sharp in the lower voices on
the third, provide harmonic momentum to complement the increasing speed
with which the work is moving.

72
Example 36. Op. 5, No. 1, mm. 58-62.
M ain* v ite
p St/kit*
6o«rdtnc
Mwins vite
rrlSSfs
rnlevfs la fo u ru in f
<ii,i£3- ***»■
(c)1906 Durand S.A. Used by Permission of the Publisher,
The "Anime" achieved by the conclusion of the continually
accelerating B section marks the beginning of an extended retransition
which opens with new material in the dorian mode based on G (Example
37). Chromatic extensions of the harmony, already manifest in
Example 37. Op. 5, No. 1, mm. 64-65.
Anlmc (J = irm)

73
measure 65, together with a continuing ascent of the accompanying
figure in the upper voices, lead to a passage based around F sharp
aeolian modality, but with numerous chromatic modifications. The
rhythm of the alto voice in measure 65 is an extension into 4/4 meter
of the characteristic rhythm of the B section. The complementary
character of the rhythm in this section, exemplified by measure 64,
in which the syncopated triplet figure plays against the melody in the
lower voice, amounts to a kind of rhythmic counterpoint. The retran
sition, which gradually slows while hovering over an E flat bass with
parallel diminished fifth tritones in the upper voices (G natural-
D flat alternating with A natural-E flat), resolves into a return of
the A section.
The recapitulation proceeds ^a capo to the point where the
exposition began to modulate. Instead, the return is slightly modi
fied by the amplification of the accompanimental figure and an exten
sion of the theme into the upper range of the keyboard in a gently
climactic crescendo followed immediately by a diminuendo and dissolu
tion of the accompanimental figure into a coda.
The coda, based upon material originally presented in the
transition between sections A and B (shown in Example 31, above), is
brooding and plaintive. As noted previously with respect to section
A, performance indications continue to proliferate throughout the
piece. In the final twelve measures of the coda, for example, Roussel
provides six indications for tempo modifications and five changes in
the meter. The harmony of the final figures features the tonic seventh
74
chord alternating with the subdominant ninth, preceded by an arpeggi
ated figure outlining the augmented mediant (F-A-C sharp), which
functions in fact as the augmented dominant spelled enharmonically
A-C sharp-E sharp. The piece ends pianissimo on the open fifth D-A.
For the first time in this work, Roussel employs, pedal
indications extensively throughout the piece, although the indicated
uses for the damper pedal are standard and perfunctory. Of particular
interest, however, is Roussel's employment of the mute, or soft,
pedal ("sourdine"). The entire A section up to the transition, for
example, is marked to be played with the soft pedal. Specific instruc
tions are provided regarding when to engage the mute and when to
release it, and occasionally, as in the transition to the B section,
quite frequent employment is called for. Clearly, Roussel sought a
particular "color" peculiar to the piano. In other ways as well, the
pianism is advanced, not only for Roussel, but for its time. The
opening "water" figure, for example, requires suppleness in playing
the disjointed figure in legato style. The encroaching impressionism
of the style, reminiscent of Maurice Ravel's Miroirs of the same
period (1905), calls for an acute aural sensitivity to the complex
harmonic agglomerations typical of much impressionistic writing,
further complicated by the additional need for contrapuntal clarity
in Roussel's multivoiced textures. Particularly difficult in this
regard for the pianist is the first B theme (see Example 32, above),
as well as the elaboration of that theme (shown in Example 34). The
frequent tempo modifications and changes in meter provide further

75
problems for the interpreter; a well-developed sense of rhythmic
balance and formal cohesion is necessary to project an overall unity
to the piece.
Promenade Sentimentale en Foret
"Promenade sentimentale en foret," the second movement of

a
Rustiques, was inspired by the countryside of the lie de France where
Roussel was living at the time in the autumn of 1 9 0 4 . It represents
a further refinement of Roussel’s artistic vision vis-a-vis his
blossoming impressionism and, as Deane points out, it no doubt reflects
as well the influence of d'Indy's training in its greater technical
control and advanced h a r m o n y . F a r removed here from the relatively
simple diatonic harmonies of Opus 1, Roussel nevertheless continues
to maintain allegiance to a tonal center, despite the preponderant
richness of non-harmonic tones as well as the characteristic use of
the harmonically destabilizing tritone borrowed from outside the pre
vailing key. Adding to the general weakening of tonal stability are
numerous secondary harmonic diversions as well as an increasing frequen
cy in the use of bitonal harmonies.
Roussel again employs a tripartite structure, but, as in the
first movement of Opus 5, it is here considerably expanded over earlier
works, the A section consisting of six phrases and a lengthy transition,
and the B section of equal proportions.
50. Cortot, o p . cit., 125 and Deane, Albert Roussel, 122.
51. Ibid.
76
Intro A Cl Th Trans
1-4 5-19 20-24 25-34
A^ : E^: E:
B Re trans A' Cl Th Codetta
35-51 52-57 58-72 73-77 78-83
A^ :
The movement is in A flat major, but the introduction
includes a syncopated accompanimental figure of F minor harmony against
a dominant pedal (E flat) in the upper voice (Example 38). Of impor-
Example 38. Rustiques, "Promenade sentimentale en foret," Op. 5,

No. 2, mm. 1— 2.
Lent
•Ob.

tance in the opening phrase is the ascending three-note alto motive
(G-A flat-B flat) which will serve as a unifying figure throughout
the movement. The combined dominant-subdominant harmonies at the
conclusion of the introduction resolve the tonal ambiguity of the
opening measure.
Section A consists of a long melodic line which begins on a
rising three-note pattern (Example 39) derived from the alto figure of
77
Example 39. Op. 5, No. 2, mm. 5-7.
Ooiix ct express if f. — C< )
«>‘i a . fe'& a. e 't o . e s a .e to .

Theodore Presser and Company, Sole Representative U.S.A. & Canada.
the introduction. The melody opens with the sharped dominant (E natural
in the key of A flat major) forming an augmented fifth with the bass.
Non-harmonic tones, especially the alternation between the natural and
the sharped dominant and supertonic degrees, enrich the texture while
expanding the limits of the prevailing tonality. The syncopated coun
terpoint of the inner parts succeeds in maintaining an expressive
rhythmic flow. Both in the first contrasting phrase as well as later
in the transition to the closing theme, harmonies based upon F flat,
the lowered submediant degree (Example 40), prefigure the E major
tonality of the B section.
Example 40. Op. 5, No. 2, m. 9 and m. 17.
h peine rnlcnti
j ~~

78
The closing theme of the A section (Example 41), in which
elements of both E flat major and C minor tonalities coexist, features
Example 41. Op. 5, No. 2, mm. 20-24.
Ciilmo
*T trger
lonrdlne
en n n lm n n t pen h pen
t n l c w z la so u rd ln a

a contrapuntal descant figure which also alternates between the two
tonalities. The descant figure first appears in measure 20 where the
left hand crosses over to execute it in the highest voice beginning on
a B natural; subsequently, the figure is elaborated and extended
throughout the theme area in measures 21, 23 and 24. The descant will
return in another context later in the piece and therefore serves as a
sort of unifying element. Of further interest is that upon each of its

79
four entrances, the first note of the descant forms a tritone with the
melody. The continuing complexity of the harmonic language is
particularly evident here in the expansion of the tonality through
chromatic alteration, the implied bitonality and the profusion of non
harmonic tones.
The transition which follows, in E flat major, represents an
extraordinarily unusual formal procedure. While it functions as an
extended transition from section A to section B, it is developed out
of material originally presented in the introduction, especially of
the three-note ascending alto figure of measures one and two (see above,
Example 38), and thereby the transition serves as an elaborated intro
duction to section B as its diminutive antecedent had done for section
A.
The three-note unifying figure (Example 42, alto, D-E flat-
F) becomes more pronounced and prevalent throughout the transition.
Example 42. Op. 5, No. 2, mm. 25-26.
Sombre _____________________
* * -- -
4 * $ EE=
t r
*1/7 = ^ - t L f r i r
...i r T T . r I ^ 'j— j — — 7- J *
l £ l j l
&X&. * e*>. e*iti *
(g)1906 Durand S.A. Used by Permission of the Publisher,

It is presented in conjunction with a B flat inverted pedal tone in
octaves surrounding it in the upper voices. The pedal evolves slowly

80
in two-measure units into an ascending chromatic figure which, while
passing through otherwise unchanging harmony, blends into and becomes
unified with the three-note unifying figure. One final chromatic push
beyond the three-note figure (Example 43) yields the supertonic degree
together with supporting dominant seventh harmony of a new key, E major,
Example 43. Op. 5, No. 2, mm. 33-34.
cn rflarpUiant

which is thereby introduced as the key of section B. Through the
entire section, Roussel again employs, as he had in "Danse au bord de
l'eau," an irregular metric unit of five beats, here represented as
alternating measures of 3/2 and 2/2. The rhythm of each beat is
filled in by a six-note accompanimental pattern in two voices, one in
each hand.
As noted, Section B is in E major, thus forming an augmented
fifth relationship with the key of the piece, A flat. It consists
of a broad lyrical melody whose first two notes, the dominant and flat
supertonic, form a prominent melodic tritone (Example 44). The tempo
rary harmonic digression provided by the dominant ninth harmony of
the flat submediant (C natural) at the F natural (third beat, measure
35) represents an increase in the options available within a given tonal

81
Example 44. Op. 5, No. 2, mm. 35-36.
M o ln s l e n t e t d a n s u n s e n t i m e n t n f f e c t u e n x

area with which Roussel was experimenting. Moreover, the avoidance of
clear-cut dominant harmony at measure 36, where the dominant bass on
the first beat is combined with mediant harmony in the upper voices,
followed by the sharped dominant (or dominant seventh of the mediant)
on the second beat, further erodes the stability of the E major tonic.
Also characteristic of Roussel's angular lyricism is the melodic move
ment of F natural to G sharp between measures 35 and 36. Further
harmonic-melodic pungency is evident at the conclusion of the consequent
phrase (Example 45, measures 38 to 39), where the A natural, an embel
lishment of the theme, supported by supertonic seventh harmony, descends
melodically in another tritone interval to E flat, with E flat and B
flat dominant seventh harmony combined in support. The progression
shown in Example 45 through measures 39 and 40 demonstrates again how
Roussel's use of enharmony, together with bold harmonic movement, en
ables him to move with such apparent ease into and out of remote keys.
The subdominant chord of the temporary key, E flat major, on the last
half of the second beat of measure 40, moves by an augmented second
root movement to the dominant of the home key, E major. The third of
82
Example 45. Op. 5, No. 2, mm. 38-40.
2r
*•&!>.

the B dominant seventh chord, D sharp, is the enharmonic equivalent
of the temporary tonic of the phrase, E flat.
The contrapuntal and rhythmic movement of section B is also
accomplished proficiently. The alto counterpoint, shown in both
Examples 44 and 45, not only completes and complements the more static
soprano, but also serves to maintain the momentum begun by the bass
accompanimental figure, picking up, for example, the triplet movement
of the bass on the last half of the second and third beats of measure
35 and following. The rhythmic figure in the alto at measures 39 and
40 is concurrent with the change in the bass movement to a succession
of eighth notes. Of further interest is that despite the complementary
function of the alto counterpoint to both soprano and bass, the alto is
itself a distinctive melodic figure.
After a chromatic, modulatory phrase based on elements from
the first two phrases of the section, the B theme returns (Example 46)
83
Example 46. Op. 5, No. 2, mm. 50-53.
T r e s c * lm « « t »ss«r l<nt
e-'Xa. e'ii

amplified by octaves with the accompaniment and harmonic underpinning
altered. The new accompanimental figure in the right hand evolves
into a contrapuntal trill beginning in measure 52 against changing
harmony and the entrance of a closing melodic figure (Example 46,
measures 50 and 51), which leads to a modulation to A flat major-minor
by way of its subdominant (by enharmony based on C sharp in measure 51,
last beat). The retransition which follows, starting at measure 52,
features a downward skip of the diminished fifth tritone from E flat
to A natural derived perhaps from the opening interval of the B theme

84
itself. The closing phrase of the retransition brings with it a return
of the descant figure from the closing theme of the A section (see
Example 41, above).
Section A is recapitulated with significant variation.
The broken chord accompanimental style begun in section B is continued
in the return of A, while the theme itself remains essentially un
changed. However, instead of the alto counterpoint of the exposition,
the first phrase of the recapitulation is accompanied by a new soprano
figure (Example 47), which has the effect of an echo. In addition, at
Example 47. Op. 5, No. 2, mm. 58-62.
tis 'ic i
sourdine

85
measure 59, a new off-beat alto counterpoint is introduced which at
first resembles the three-note ascending alto figure of the introduc
tion but which, by the end of the measure, takes a new direction and
develops into the syncopated figure which begins at measure 60. Demon
strating once again Roussel's pronounced proclivity not to repeat him
self, the changes in accompaniment and counterpoint in the recapitulation
result in significant harmonic variance as well as a greater sense of
rhythmic momentum. The texture which results from these changes is more
liquid, the voices made more prismatic in their individual clarity.
One further variation is provided when in the third phrase of
the recapitulation, a new tenor counterpoint in triplets is introduced
and, in the same phrase, the recapitulation departs from the shape
of the exposition in order to maintain the tonic in the approach to
the closing theme. The latter proceeds in an exact transposition into
the codetta, which evokes the introduction. The three-note ascending
alto motive is present, but here transposed to the major mode. In
addition to the three-note alto motive, the other unifying figure of
the piece, the descant first presented in the exposition's closing
theme, is alluded to twice in the codetta, wrapping up formal pro
cedures rather neatly.
From a pianistic standpoint, there are a number of problems
in "Promenade sentimentale en foret." As noted above, the return of
section A in the recapitulation is marked by a much more transparent
texture, with individual voices more clearly delineated. However, the
original presentation of the theme is characterized by a somewhat murky

86
texture, thick and closely spaced, thus presenting the difficulty
of producing an understandable statement of the counterpoint. In
addition, while pedal indications continue to proliferate, Roussel’s
inexperience as a pianist doubtless contributed to the awkwardness
to be confronted in attempting to realize the composer's intentions in
a passage such as that shown in Example 41, measure 20, above, in
which the B flat octave bass is marked to be held by the damper pedal
throughout the measure against three other harmonically active voices,
including the descant soprano figure, which requires more clarity than
this pedaling procedure would permit. It is possible to sustain the
bass notes with the sostenuto (middle) pedal while using the damper
pedal to clarify the rest of the measure; however, the sostenuto
pedal is very often not available on standard instruments, and pianos
from Roussel's time made by the most important French manufacturers,

52
Pleyel and Erard, did not include such a pedal at all. Even for the
modern player with access to a sostenuto pedal, it would be difficult
to employ the double pedal technique inasmuch as Roussel also calls for
the soft pedal ("sourdine") in this passage; however, simultaneous use
of the three pedals would obviate the problem in this instance.
Norman Demuth has asserted that "the writing in the middle
is slightly conventional, with simple arpeggii in the left hand which
52. Alfred Dolge, Pianos and Their Makers (Covina Publishing Co.,
Covina, Ca., 1911), abridged republication (New York: Dover, 1972),
Insert, 190.
87
53
have done duty by so many composers." While there is some validity
to the statement, the accompanimental figure of the transition to
section B (shown in Examples 42 and 43) assumes, in its persistence
throughout the page, the character of an ostinato, contributing to the
dramatic momentum leading to section B. The broken chord pattern
which develops out of the previous figuration (Examples 44 to 46) is
varied, idiomatically spaced and appropriately complementary to the
alto counterpoint. Contrast is provided in measures 39 and 40
(Example 45) and the style of the accompaniment is intensified and
amplified to an expressive pianistic effect prior to the retransition
(Example 46).
Retour de Fete
"Retour de fete," the third and final movement of Rustiques,
completed in 1906, two years after the rest of the suite, shows a
number of advances in Roussel's style. Principal among these is the
vitality of the rhythm; with "Retour de fete" Roussel moved closer to
the language with which he is most associated: short fragmented
themes, often revolving about a fixed point, characterized by a buoy
ant vibrancy which explodes from within. In addition, the harmonic
language continues to be spiced with a generous sprinkling of tritones,
with an expanded sense of tonality and with bitonal implications.
Counterpoint continues to be a hallmark of the compositional apparatus,
53. Demuth, op. cit., 96.

88
and non-principal parts contribute dramatically to the rhythmic drive,
especially in their often syncopated form. For the most part, the
pianism captures much of the traditional French concern for clarity,
textural transparency and considerable attention to color and variety
of articulation.
Several observers have noted some kinship bewteen "Retour
de fete" and works by other composers. For example, perhaps in its
evocations of the countryside, Cortot-*^ was reminded in some passages
of Deodat de Severac (1873-1921), a French regionalist composer who
was concerned with the local folklore and customs of his native
Languedoc. Demuth-* ^ has traced the pianism of the work to Rameau's
"Le Lardon," where the process of finger crossing appeared for the
first time in French keyboard music. It may be noted, too, that "Le
Lardon" was the inspiration and basis for Variations, Interlude et
Finale sur un theme de Rameau (1901-02) by Paul Dukas, Roussel's
contemporary. Finally, Surchamp‘d has observed that "Retour de fete"
evokes, well in advance, the Bartok of the Out of Doors suite of 1926,
with its fife and drum calls and its flavorful polytonal encounters.
In the latter respect, perhaps the most striking relationship with
Bartok is Roussel's use of the arch form in "Retour de fete" well
54. Cortot, o p . cit., 124.
55. Norman Demuth, French Piano Music; A Survey with Notes on its
Performance (London: Museum Press Ltd., 1959), 57.
56. Surchamp, o p . cit., 146.

89
before Bartok established his fondness for it in, for example, the
overall structure of the Concerto for Orchestra (1943) and the Fourth
String Quartet (1928), and in individual pieces such as the "Inter
mezzo" of the Concerto for Orchestra and the third movement of the
Music for Strings, Percussion and Celesta (1936)."^ The formal out
line of "Retour de fete" is as follows:
A Cl Th Trans B
a b a
1-29 30-33 34-39 40-71 72-87 88-96
f: (C/c:) : C#:E:c:E^/c:
Trans Cl Th C
97-106 107-112 113-130
D:b:D^:E:
a trans b
131-170 171-179 180-196
c/A^: f :A^ :d: ... A^ :D^:A:f:A^:
Trans Coda
(false recap)
197-198 199-212 213-232
d: C: F:
90
In its 232 measures and eleven pages, "Retour de fete" is the most
extended composition for piano by Roussel up to this point.
The piece opens on a short rhythmic theme in alternating
4/4-3/4 meter accompanied by alto and tenor counterpoint in synco
pation (Example 48). The second melodic motive, beginning at measure
Example 48. Rustiques, "Retour de fete, Op. 5, No. 3., mm. 1-2;
mm. 5-6.
T r e s v i f (J = m )
1 i ) 1 ! T
a u to
- V u.
- m
tt.-y Hi
@ 1 9 0 6 Durand S.A. Used by Permission of the Publisher,

five, establishes the primacy of the tritone with parallel double aug
mented fourths. Pungent clashes of non-harmonic tones in, for example,
minor seconds and augmented octaves occur frequently. The first re
statement of the opening figure in the dominant features the addition
of an added upper voice, including the formation of a tritone with the

\
57. John McCabe, Bartok Orchestral Music (orig. publ. British Broad
casting Corp., London, 1974) (Seattle: Univ. of Washington Press,
1975), 47-60.
91
penultimate note of the first measure. Abruptly intruding upon the
joviality of the opening theme is a three-measure motive of a some
what sentimental character (Example 49). Consisting of a series of
Example 49. Op. 5, No. 3, mm. 13-15.

descending seconds " . . . whose spirit is akin to that of the 'Prome
nade sen ti me nt a le ,a c co rd i ng to Cortot,**® the new figure features a
tritone in the upper voices at the beginning of each two-note figure,
as well as in the harmony at measure 14, first beat, and measure 15,
second and third beats.
Subsequently, the two themes are developed in alternation,
with the second, sentimental theme elaborated melodically into a more
complete figure before returning to its original simple state as a
descending second. One remarkable appearance of the first theme occurs
at measure 26 (Example 50) where, over an F-C pedal in the piano's
lowest octave, the theme is stated in the lydian mode on G flat in a
high register, clearly a "fife and drum" effect akin to Bartok's
similar evocations in "With drums and pipes" from the Out of Doors
58. Cortot, op. cit., 126.

92
Example 50. Op. 5, No. 3, m. 26.
*T
R‘br\%*f\---- ----- -
sourriin?

suite. A closing rhythmic figure ( SB S) jp ) over an A natural
trill, forming predominantly D flat augmented triad harmony, closes
the section on a D flat eleventh chord.
A short transition follows, introducing a new accompanimental
figure which becomes the basis for the B section, which is itself in a
modified ABA form. The opening theme of the section (Example 51) is
Example 51. Op. 5, No. 3, mm. 41-45.
f*1

more figural than motivic. It consists of a rhythmic figure of three
against two in closely overlapped voices. Because of the sequential
nature of this portion of the section, no clear key center emerges
until later. However, the opening harmony (measure 41) features an
A flat augmented triad in the right hand against a C major triad in

93
the left. In both instances, the third of the chord is replaced by
the fourth, resulting in C-F-G against A flat-D-E. A similar harmonic
arrangement is maintained throughout the section wherever these figures
occur. Gradually, a theme emerges from the figuration and the key of
A flat major is established (Example 52). Out of the denseness of the
Example 52. Op. 5, No. 3, mm. 53-56.
enltrtf sourdine

continued development of these figures, the B section's second theme
(Example 53), angular and folk-like, is introduced in the key of C sharp
minor, accompanied at first by the tritone E-A sharp in syncopation.
Example 53. Op. 5, No. 3, mm. 72-83.
U n p c u m o llis v l t e c t g n f n ie n t ■ [ 1 — I — K
. & ■Li.--- l>U------ ^ T 2J ± ] J-— J— ^

'fith, 1*— I- — 1
/
Art 'ff ;.J— — I 1*
5? 1
«*£i&
o 1906 Durand S.A. Used by Permission of the Publisher,
94
During the second half of the phrase, when the theme shifts from the
left to the right hand, a modulation to E major takes place, remarkably
against a harmonic pedal consisting of its own augmented sixth chord
(C-F sharp-A sharp). Then, just as abruptly as the theme had in
truded in its original appearance, it enters for a restatement in the
key of C minor, down a semitone and with the accompaniment altered.
At the point in the second half when it begins the modulation (this
time to E flat major), another statement of the theme begins in canon
against the balance of the phrase, but the canonic entrance is trun
cated in favor of a transitional episode which leads to an abbreviated
return of the first theme of the section, thus closing the ABA circle.
The rhythmic figure which had closed section A is brought
back in a different harmonic guise to serve as a transition between
sections B and C. The return of the first portion of section B had
closed on a sequential series ending in D flat minor. From there, it
was a short leap by way of the closing rhythmic figure to the relative
F flat major, setting up the beginning of section C in the enharmonic-
ally equivalent key of E major.
In extreme contrast with the lively nature of the preceding
material, section C is a slow expressive interlude. Its opening theme
(Example 54) features an undulating accompanimental figure in sextup-
lets in two voices, with the left hand crossing over the theme in a
counterpoint against the alto an octave below. The theme itself is
distinguished by a tritone leap between the raised supertonic and the
submediant, the latter tone also forming a tritone vertically with the
95
Example 54. Op. 5, No. 3, mm. 113-116.
Lent (J = it,)
frrrnuTmriu'-m

alto. It is interesting to note once more a kinship between Roussel's
developing style here and that of the later Bartok, specifically, the
latter's use of the melodic tritone in similar musical circumstances
in his Improvisations, Opus 20, No. 3 from 1920 (Example 55). Roussel
Example 55. Bela Bartok, Improvisations« Op. 20, No. 3, mm. 12/13-14;
mm. 24-25.
96
again uses the tritone in the following phrase at measure 116 by
use of the raised subdominant both in the interval between the bass and
the tenor on the first beat (A sharp-E) and then again in the soprano-
alto combination on the last half of the second beat. Roussel's expan
sion of the tonality is evident in these phrases, for example by
the use of the raised supertonic and the lowered mediant in measure 113;
then, upon elaboration of the second phrase, a number of chromatic
alterations seems to prepare for modulation to G major (Example 56),
but instead, the following phrase, starting at measure 119, moves to
Example 56. Op. 5, No. 3, mm. 118-119.
A n f m i ’Z u n jii'it
(§) 1906 Durand S.A. Used by Permission of the Publisher,

B minor for further development of various elements of the section.
The new sweeping arpeggio accompaniment includes a number of character
istic intervals, for example the augmented fifth-diminished fifth
sequence at the third beat of measure 119. The preparation for D flat
major which follows this time results in a passage in that key in which
the opening phrase of section C, with its distinctive tritone interval,
is restated in the tenor with a new accompanimental figure in double
notes in the upper voices (Example 57). The deceptive cadence on the
flat submediant (C flat) is, by enharmony, an allusion to the dominant

97
Example 57. Op. 5, No. 3, mm. 121-122.
jrit Utlrmnt
(c) 1906 Durand S.A. Used by Permission of the Publisher,

of the key of the section (E major) and upon repetition of the phrase,
Roussel does indeed return to the home key to conclude the section.
After a short transition, section B is recapitulated with
extensive development of the several elements of its "a" area, after
which a new transition figure is introduced (Example 58) which is at
once more rhythmically energized and harmonically complex than anything
Example 58. Op. 5, No. 3, mm. 171-173; mm. 178-179.
r—
>-

98
which had appeared in section B's original incarnation. The sub
sequent statement and development of the mid-portion of section B
includes a new key relationship within the first phrase, modulating
from A flat major to A major. Successive statements of the "b"
theme are accompanied by a driving rhythmic pattern of repeated six
teenth notes. Instead of a return to the first portion of section B,
however, a "false" recapitulation of section A intrudes for two state
ments of the original theme, in D minor and C major, followed immedi
ately by the real recapitulation in F major, the parallel major of
the original key.
The return is accomplished with considerable variation,
most of which intensifies the rhythmic drive and the harmonic color of
the opening, an effect of brightness and revitalization. The syncopated
counterpoint of the opening is employed once more, but with open fifths
in place of the original single note tenor; further brightening the
effect is the transposition of the theme into the higher octave. And
where the exposition's first reiteration of the opening two-measure
theme took place in the dominant, in the recapitulation it is suddenly,
without preparation, stated in E major twice in succession against
fragmented counterpoint with changing harmonic implications, including
a remarkable series of diminished fifth tritones against the theme on
its second statement (Example 59, measure 209).
After a brief allusion to the descending second figure shown
in Example 49, above, the coda begins over a subdominant pedal which
develops into a statement of a fragment of the opening theme starting
on B natural against the B flat pedal, reiterating the "fife and drum"
99
Example 59. Op. 5, No. 3, mm. 209-210.

effect shown in the exposition in Example 50 (above, page 92). Follow
ing that, the three against two figure of section B (Example 51, above,
page 92) is stated, concluding with a partial dissolution of the lower
figure and then interrupted by the closing rhythmic figure, T D W .

which had previously been used to close the first appearances of section
A and section B, now brought back at the close of the piece. Further
dissolution of the lower figure from section B, from four notes to
three to two, is followed by a dominant seventh chord with a flat fifth
accompanying a dissolution of the closing rhythmic figure. The dominant
seventh resolves to a rootless tonic chord (A-C-A) to which is added
an E flat and G. Over that suspended harmony, a fragment of the opening
theme starting on D flat is stated in the mixolydian based on C. With
the final addition of the tonic and dominant tones in a concluding
eighth note, the piece ends on a tonic ninth chord with the flat
seventh.
There are numerous interesting pianistic aspects to "Retour
de fete," both negative and positive. Among the problems of the piece
is the prodigiousness of styles represented, often including the juxta
position of incompatible pianistic styles: for example, the movement

100
without transition from the opening lively rhythmic figure to the lyri
cal, more sentimental theme between measures 12 and 13. Then again,
there is an awkwardness, both from a physical as well as a musical
standpoint, between the slow lyricism of section C and the return to
the animated liveliness of section B. Beyond that, the close over
lapping of the parts in section B requires considerable digital and
aural acuity to insure the textural clarity that is desirable.
Vuillemin was apparently referring to this section when he complained

59
that the pianism is not " . . . under the fingers," and Gil-Marchex
also calls this section " . . . rather unfortunate"^ in its pianistic
realization. The virtuosity required for this piece, while not perhaps
as great as that required by Ravel, nonetheless makes considerable
demands on the pianist. The frequent crossing and interlocking of hands
require coordination, and the double note figure beginning at measure
121 (Example 57, above) is technically demanding. There are frequent
sizable leaps whose accurate realization requires agility. The
repeated notes in the left hand which begin at measure 185 present a
problem in articulation. A new feature of Roussel's style here, and
one that he would exploit even more in his later neo-classic works, is
an increased attention to the percussive effects of the piano: for
example, the opening left hand octaves (Example 48, above) and the
broken chord figure beginning at measure 171 (Example 58, above).
59. Vuillemin, o p . cit., 20 [author's translation].
60. Gil-Marchex, op. cit.. 74 [author's translation].

101
Beyond the physical aspects of the pianism, however, there
are a number of additional considerations with respect to the music
itself. "Retour de fete" is still characterized by frequent changes
in meter, including both regular and irregular alternation between
4/4 and 3/4 in section A, the occasional change to 2/4 from 4/4 in
section C and, in the coda, the use of an assortment of 2/4, 3/4 and
4/4 meters. In addition, as in the earlier movements of Rustiques,
there are numerous indications for modification of the tempo, some
over large sections, others, more subtle, lasting only a measure or
two. Also in line with the more subjective elements of impressionism,
a number of unusual performance directions are employed, such as "tres
vibrant" (very resonant) (Example 57) and "tres lointain" (very distant)
(rhythmic figure of the coda). Detailed and frequent indications for
use of the soft pedal continue as well.
The works discussed in this chapter have traced a rapid
evolution in Roussel’s style from his early Wagner-dominated Franckist-
Schola productions to the point where, with Opus 5, and especially with
"Retour de fete," he has aligned himself more with the mainstream of
French keyboard art stretching back to the clavecinistes and including
Debussy, the composer who completed the revolution in France against
the Italian-German domination of the nineteenth century. This latter
point was underscored by G. Jean-Aubry in his illuminating retrospec
tive of French music, in which he points to a renaissance in the
twentieth century of the classic French ideals which traditionally
included clarity, textural transparency, irony, the avoidance of

102
redundancy, a taste for pleasantry and wit, an emphasis upon rhythm,
especially in the use of dance forms, and a feeling for the picturesque
and the s e n s u o u s . ^1 Roussel, even while moving toward the traditional
French values, would at the same time further personalize his brand of
French music, especially with respect to impressionism, when he re
turns to the piano several years later with the works to be discussed
in the following chapter.
61. G. Jean-Aubry, French Music of To-day, trans. Edwin Evans, 4th ed.
(London: Kegan, Trench, Trubner & Co., Ltd., 1926), 32-35.
Chapter III
The Emergence of an Individual Style:
Roussel's Early Maturity
The two important works under consideration in this chapter,
the Suite, Opus 14 and the Sonatine, Opus 16, as well as a third minor
production, represent a definite turn away from impressionism toward
music divorced from extramusical associations. As previously quoted
(Chapter I, page 18), Roussel himself observed that a reliance on
exterior, picturesque means of expression and sources of inspiration
robbed music of its truth, and he therefore determined to write music
which was true to itself, stripped of descriptive elements. That he
succeeded in moving his own music out of impressionism, as well as
leading French music in general in a new direction, is attested to by
Darius Milhaud, who observed that Roussel's work " . . . tended to
separate itself from impressionism, which, after Debussy, had enchained

62
French music in a veritable impasse."
As previously mentioned, one important influence on Roussel
in his move away from impressionism was his study of and fascination
with Indian modality. The Suite, Opus 14, bears some of the fruit of
his experiments with Hindu music. One of the outward manifestations
62. Darius Milhaud, quoted in Surchamp, op cit., 168 [author's

translation].
103
104
of his turn towards "pure" music is his repudiation of descriptive
and picturesque titles. Marius Schneider noted the connection
between Roussel's use of impersonal titles and his separation from
impressionism:
A further separation from impressionism is shown in his

piano works . . . . In the Suite (op. 14), we find for
the first time preset forms (siciliano, rondo). Partic
ularly in the Sonatine (op. 16), this impulse very clear
ly emerges. It appears as if Roussel, in the simplicity
and impersonality of this form of neglected composition,
followed in Ravel's path.63
Beyond these superficial characteristics, however, the music of
this period is marked by a greater reliance on rhythm, both in
the rhythmically based themes and in the continuous, driving char
acter of the rhythmic motion. In addition, the use of ostinato
figures increases and the harmony evolves into a more personal
language, one sharply influenced by the incorporation of Hindu
modality into the traditional western harmonic base. The pianism
is experimental, moving from the sometimes heavy and awkward Suite
to the colorful clarity of the Sonatine, and then to the stark
simplicity of the Petit Canon Perpetuel.
63. Marius Schneider, "Albert Roussel," Anbruch: Monatsschrift

fur moderne Musik XII/4-5 (Apr.-May 1930), 158 [author's
translation].
105
Suite, Opus 14 (1909-10)
Prelude
Sicilienne
Bourree
Ronde
The works of Roussel's middle period, during the pre-World
War I years, in addition to a turn away from impressionism, are charac
terized by both a pruning of the early style and experimentation with
new influences. In particular, the Suite moves in the direction of
greater rhythmic stability, with fewer changes in meter and, at least
with respect to individual sections, more consistently maintained
tempi. The harmonic vocabulary continues to expand and there is a
continued use of the tritone and other angular and harmonically de
stabilizing intervals, such as the augmented second and the diminished
fourth. The latter often result from the use of Indian modes as
well as from Roussel's own penchant for unusual harmonic combinations
and melodic movement. Counterpoint has become an integral part of
the language and individual voices often pursue separate harmonic or
modal directions.
In the course of composing the Suite, during the period 1909-
10, Roussel undertook a voyage to India and southeast Asia. While in
India, Roussel apparently intensified his knowledge of classical Indian
music, and directly resulting from his study were the orchestral suite
Evocations (Opus 15) and the opera-ballet Padmavati (Opus 18), based
on a Hindu legend. Also directly influenced by Indian music, but to
a lesser extent, was the Suite, in which there are some directly
106
attributable Indian influences, especially in the final "Ronde," the
only movement completed after the trip.^ It would seem that a
logical inference is that Roussel was just beginning to experiment with
Indian modality while working on the Suite, and, having completed it,
applied the results of his study with greater intensity in the two
works which followed, Evocations and Padmavati.
Prelude
The "Prelude" is bipartite in form, but the basic formal
structure masks the internal dynamics of the work itself, which in
corporates, with the extensive return of the A section, a set of
variations on the A theme. The movement is in F sharp major, and in
the manner of the Baroque, the entire Suite is based on the same
tonality (the "Bourree" is in the parallel minor).
Intro A Trans B Retrans
1-12 13-32 33-34 35-43 44-47
F#: a#: F: E : E:
(raga Suryakanta) (Phrygian) (Suryakanta)
A1 Trans B' Trans
48-87 88-89 90-96 97-98
A: C#: e#(phrygian)/F#-C#: F#:
(Suryakanta) (Suryakanta)
64. Gil-Marchex, o p . cit., 77.

107
The "Prelude" is introduced by a somber ostinato pattern
(Example 60) which persists, through a number of variations through
out the movement, including much of the B theme, the transitions and
Example 60. Suite, "Prelude," Op. 14, No. 1, mm. 1-4.
Trill lenl J = 5:
f pp sotnirf
(c)1910 Editions Salabert.
the coda. The principal feature of the ostinato is the flat super
tonic, a deviation from the key which is maintained throughout the
movement in all the tonalities in which it appears. The persistence
of this chromatic alteration is such as to suggest a conscious pre
set scalar pattern other than the traditional major scale in western
music. And indeed, the scale extracted from the ostinato figure
(Example 61) is in fact a Karnatic (i.e., southern Indian) raga known
as Suryakanta. In both the Hindu (northern Indian) and Karnatic
Example 61. Mela raga Suryakanta.
65. Walter Kaufmann, The Ragas of South India: A Catalogue of Scalar

Material (Bloomington, Indiana: Indiana University Press, 1976),
84.
108
traditions, there exist families of tones known as the mela in Karnatic
music and the thata in Hindu practice. This type of tone group is
defined as "a plain seven-tone scale, representing the tone material
of a group of subordinate janya ragas. The mela serves as an imperson
al headline, without strong and weak notes, without any embellishments
. . ."66 Because of the unchanging accompanimental, rather than
melodic, nature of this figure, it is not possible to determine which
subordinate variety (i.e., janya raga) of the principal tonal material
this piece employs. Seen in the light of its Indian source, the osti
nato of the "Prelude" is thus without chromatic variation, but uses
the tones found naturally in the raga Suryakinta. Of further interest
is the extensive use throughout the piece of the C sharp pedal tone
which can be seen as analagous with the traditional drone accompaniment
of a raga.
Roussel was undoubtedly drawn to Indian music at least in
part because it fit certain predilections of his own, notably for
angular lyricism, exotic harmonic combinations and the extensive use
of the tritone. In the latter regard, special note can be made of the
several tritones formed by use of the raga Suryakanta in the ostinato
pattern. Another typical feature of Roussel’s style evident in the
introduction is the use of the displaced accent on the off-beat C sharp
"drone." The C sharp is reiterated throughout the introduction,
66. Ibid., xvi.

109
first once per measure, then twice, and finally it is followed by the
embellished upper octave.
The A section begins on a similarly displaced beat (Example
62); no note within the first theme falls on a beat until the final
Example 62. Op. 14, No. 1, mm. 13-17.
© 1 9 1 0 Editions Salabert.
measure (measure 17). The ponderous theme ascends slowly to a climax
from which it retreats to return to the drone of the introduction.
The theme, in three voices, usually forms a fifth or a fourth between
the upper voices, including the opening and concluding tritones. The
consequent phrase, still over the unchanged ostinato figure, begins
a tone higher than does the antecedent in a series of four successive
tritones. Once again, only the concluding note of the phrase occurs on
the beat. Returning once again to a portion of the introduction for
two measures, a variation of the opening figure ensues in which a new
figure appears in the alto in sixteenth notes (Example 63), which is
repeated in a continually accelerating tempo. The pitch of the drone

110
Example 63. Op. 14, No. 1, m. 28.
Accel.
(5)1910 Editions Salabert.
is finally changed to D sharp and at the same time the ostinato is
abandoned in favor of a reiterated D sharp pedal. Finally, a new
transition figure appears which features a bright off-beat accent in
a high register.
The D sharp pedal of the transition was a harmonic prepara-
tion for the entrance of a new theme in the phrygian mode based on
A sharp, beginning section B with a highly contrasting theme (Example
64). The somber character of the A section, the larger part of which
Example 64. Op. 14, No. 1, mm. 35-38.

A v e e fralchcwr J = « 0
ij tf —
> > > >

Ill
took place in the lower registers of the piano, is balanced in the
B section with the light lyrical theme, marked "with freshness,"
whose accompaniment is a relatively high, widely spaced and transparent
arpeggiated figure. The A sharp tonality is immediately replaced by
a transposition of the theme to F major, a change of mode which is
effected smoothly by the enharmonic relationship bewteen the previous
tonic (A sharp) and the opening subdominant note of the transposed
theme (B flat) in the upper voices and by the connection between the
E sharp bass of measure 36 and the F natural bass of the trans
position. The new key does not represent an exact or even parallel
transposition, but rather a migration, as it were, of each voice to
the nearest convenient F major tones. Thus the relationship of the
parts to each other is altered and the harmonic underpinning is varied,
resulting in an even brighter and more transparent effect upon the
repetition. It should be noted, too, that in varying the bass line
of the B theme’s appearance in F major, Roussel alluded to the interval-
lic relationships of the ostinato pattern (compare, for example,
measure 37, Example 64 with measure 1, Example 60, above). The new
harmonic language, too, now incorporates quite naturally the juxta
position, for example, of the A natural-A flat combination in measure
38, third to fourth beat, the pungency of several major sevenths and
seconds and the ease of movement between the F sharps on the fourth beat
of measure 38 and the surrounding F naturals (Example 64, above).
Similarly, the new thematic element introduced into the B
section at measure 39 (Example 65) encompasses cross relationships

112
Example 65. Op. 14, No. 1, mm. 39/40-41; m. 44.
between B natural (alto, third beat, measure 39) and B flat (fourth
beat, tenor and soprano) and between the following C natural and C
sharps. The augmented fifth E flat-B natural and the melodic tritone
F sharp-C natural in measure 39 are also characteristic of the expanded
harmonic sense.
A transition by extension of the final thematic motive of
the second B theme leads to a retransition in which an elaboration of
the latter motive is combined with a reintroduction of the ostinato
pattern based on the raga Suryakanta transposed to E flat (measure 44,
Example 65). A subsequent harmonic variation of the ostinato beginning
on an E natural supporting a further rhythmic elaboration of the B
theme motive leads to a remarkable recapitulation of section A.
The recapitulation begins at the end of an extended acceler
ando which culminates in a tempo considerably quicker than that of the
original. In effect, the recapitulation is brought about in diminution,

113
including a change of meter from 4/4 to 2/4. The return begins on the
tonality of A, i.e., the riga Suryakanta tranposed to A (Example 66),
Example 66. Op. 14, No. 1, mm. 48-49.
J=J HIiih agile? rtnim l>ipreM*.Iein
'JfrPed simile
with a four-measure variation on elements from the introduction. The
ostinato is in sixteenth note triplets, providing a more agitated
movement, but within the context of a pianissimo leading to a sforzan-
do climax in the second and fourth measures of the phrase, providing
the recapitulation with a certain eerie portentousness. The A theme
itself enters at measure 52 against a new syncopated alto-tenor counter
point (Example 67), the rhythmic complexity thus achieved contributing
Example 67. Op. 14, No. 1, mm. 52-56.
fmi*
114
to the general uneasiness of the variation. The use of the lower
registers of the piano is an exploitive technique used to enhance the
generally dark character of this theme. While the harmonic combinations
are richly pungent and the intervals are somewhat exotic, including
many tritones as well as augmented fifths and diminished fourths and
thirds, there are very few tones foreign to the raga (the Suryakanta
on A is spelled A-B flat-C sharp-D-E-F sharp-G sharp). A short
transition by means of a rhythmic and harmonic elaboration of the
ostinato figure ensues leading to the variation of the consequent
phrase along lines similar to the variation of its antecedent. At
the latter's conclusion, the recapitulation abandons the direction
taken in the exposition in favor of a new, even more elaborate vari
ation of the thematic material. Returning once again to elements of
the introduction, a furiously percussive fortissimo passage in thirty-
second notes opens the second variation of A theme material (Example
68). The harmony is enriched by bitonal implications, and the voicing
is extended and amplified. The climactic point of the "Prelude" is
reached by a violent, highly percussive fortississimo statement of the
Example 68. Op. 14, No. 1, mm. 66-67.
(c) 1910 Editions Salabert.

115
A theme in which the intervallic relationships within the ostinato
are changed for the first time (Example 69). This second variation
is based on two identical lower tetrachords of the raga Suryakanta, one
on C sharp, the other on G sharp, spelled, respectively, C sharp-D-
E sharp-F sharp andGsharp-A-B sharp-C sharp. Thecomplete Suryakanta
on C sharp would include an A sharp. The deviation is apparently
directed at affirming the tonality of F sharp. The intensification
Example 69. Op. 14, No. 1, mm. 71— 72.
(J= i08irl Iris r'nerfllquTj
of the melody includes an oscillation between A natural and A sharp,
thus maintaining an ambiguity as to major or minor mode. The intensifi
cation includes the addition of new melodic tones in the theme, higher,
more insistent and intense repetitions of climactic motives. Roussel
has by this point, by verbal and metronomic indications, doubled the
tempo of the movement for this second and final variation. Moreover,
the amplification of the harmony and the gradual upward extension of
the melody, together with a continually increasing dynamic level and
the use of mammoth accents ("sfffz"), contribute to a dramatic sense
of climax in this section and an almost savage rhythmic intensity.

116
A sudden, allusion to the B theme serves to modify the previous
ferocity, reducing the dynamic level dramatically and introducing a
new variation on the ostinato in a more lyrical sextuplet arpeggio.
Having thus deflated the peak of energy previously achieved, Roussel
reintroduces the B theme, piano and dolce, in a fascinating way
(Example 70). Not only is a rich harmonic dichotomy achieved between
Examply 70. Op. 14, No. 1, mm. 90-91.
tim iie
the sextuplet accompaniment, which vascillates between F sharp major
and C sharp major, and the upper voices, which are in the phrygian
mode based on E sharp, but the new alto counterpoint against the B
theme is an exact statement of the principal theme of the Suite's
concluding "Ronde" movement (see Example 100 in the discussion of the

67
"Ronde"), which, as will be shown, is based on the Hindu rlga Bhupali.
Amazingly enough, this common cyclic procedure, one of the tenets of
Schola compositional procedures, was accidental on Roussel’s part.
Having been pointed out to him by Gil-Marchex, " . . . the composer

68
assured me that he had placed it there without noticing it." The
67. Appendix, 239.
68. Gil-Marchex, op. cit., 77 [author's translation].

117
B section proceeds otherwise unremarkably until, at the retransition,
the raga Suryakanta is reestablished in its original form.
The coda begins over the ostinato accompanied by a harmonic
progression (Example 71) which is restated several times. Then, in a
Example 71. Op. 14, No. 1, m. 99.
J *dxmin.
© 1910 Editions Salabert.
reversal of the introduction, the droning C sharp pedal gradually
recedes in the number of its repetitions, interrupted in this process
by one full statement of the opening theme of section A. Finally, a
dissolution of the ostinato resolves into a final quiet cadence on the
tonic.
The pianism of the "Prelude" marks a rather radical departure
for Roussel from the more limpid textures of Opus 5. The preponder
ance of the lowest and middle registers of the piano in section A,
which Roussel would exploit even more in the Piano Concerto of 1927,
presents difficulties in textural clarity. However, Marius Schneider,
anticipating such problems, cautioned that despite the deep registers,
"With respect to its sound, the Suite, with its deep basses, should
not be misunderstood. It should be thought of in the sense of the some-

frq
what dry and short French piano sound." Similarly, the occasional
overlapping of hands and close spacing of voices is both physically

118
awkward and possibly confusing to the ear (e.g., the B theme, measure
36, Example 64; second B theme element, measures 39-41, Example 65).
There are frequent virtuosic requirements in the "Prelude," often to
considerable musical and pianistic effect. The retransition to
section A, for example, is a difficult and animated figure of consid
erable brilliance. The percussive second variation of the A theme,
shown in Examples 68 and 69, in its barbarity represents a sharp de
parture from previous piano ideals, especially in France. Curiously,
Bela Bartok, in 1911, the year following publication of the Suite,
would write the Allegro Barbaro in which he exploited this same per
cussive aspect of the piano. Whether or not Bartok was familiar with
Roussel's music has not been documented, but his interest in French
music, especially in Debussy and Ravel, and his many activities in
Paris both during this period of his life and later, as both performer
and composer, have been amply demonstrated by Moreux.^
Sicilienne
The second movement of the Suite is a "Sicilienne," a slow
pastoral work that incorporates the traditional dotted rhythms of the
seventeenth and eighteenth century Sicilian dance in an alternating
6/8-12/8 meter. The form of the work is perhaps too independent and
complex to be labeled, although it may be described as a modified
69. Schneider, o p . cit., 158 [author's translation].
70. Serge Moreux, Bela Bartok, trans. G. S. Fraser and E. De Mauny

(London: Harvill Press, 1953), republ. ed. (New York: Vienna
House, 1974), 58-59, 91 and 144.
119
sonata rondo, with elements of an arch form. It consists' of the
integration of three major themes which undergo continuous development.
Among its features are a varied and abbreviated repetition of the open
ing two sections before the entrance of the third theme area, an early
recapitulation of the B theme instead of the expected return of the
opening section and an extended development section in which elements
of the second and third themes are expanded upon. The following out
line is designed to show the intricate interplay of the various themes
(in lower case letters) within the larger theme areas or sections
(upper case).
A B (A) (B)
a b a c(a) d e f(d) g a h(d/e)
1 2 3 4 5 6 7 8 9 10
F#: g#: (d#:) F#:

(dorian)
Transition C Developmental Episode (C/B)
i j k l(k) (k-1) (d) (k-1)
11-13 14-16 17-18 19-20 21-24 25 26

(false recap)
. . . (G#:) C#/G#-D#: G#: D:
B Trans'1 Episode Coda
d g (a) (k-1) (a) (d) cadential
27 28-29 30 31-34 35 36 37-39
F#:
120
The piece opens in F sharp major without introduction on the
first of the three important themes (Example 72). The simple, lyrical
melody has been compared to Faure's melodic style, an observation
apparently immediately evident to the audience at the Suite's premiere
Example 72. Suite, "Sicilienne," Op. 14, No. 2, m. 1.
T r»» Irnf J's<0H
on January 28, 1911. According to Dumesnil, the work was considered
"Faureenne" because of the elegant purity of the melody as well as
the effectiveness of the pianistic writing. However, some were taken
aback by the extraordinary number of dissonances in the harmonic
texture. Landormy, for example, an admirer of the work, stated that
"It is not the suave Faure who could have written the opening of the
Sicilienne, op. 14, which right at the start, bruises an unprepared
ear. . ."72 The harmony of the "Sicilienne," evident in the opening
phrase, is richer, lusher, and more texturally complex than anything
Roussel had done previously for the piano. The opening tonic chord,
for example, includes the harmonically enriching added sixth (D sharp);
71. Dumesnil, L'aube, 482.
72. Landormy, o p . cit., 514.

121
the short chord which follows combines, in a secondary dominant
configuration, the diminished fifth tritone B sharp-F sharp in the
lower voices with the diminished fourth B sharp-E natural above.
Typically, Roussel rescues the potentially lachrymal or sentimental
melody with the addition of pungent, biting dissonance in the 12/8 por
tion of the first measure: the B natural-B sharp and D sharp-D double
sharp clashes, for example. In similar fashion, the consequent phrase
(Example 73) contains numerous Rousselian intervals, such as the major
Example 73. Op. 14, No. 2, ra. 2
seventh between the E and D sharp on the first beat and the augmented
triad at the sixth beat; and in the 12/8 portion of the measure, the
diminished triad of the lower voices on the first beat, the augmented
fourth followed by a diminished fifth and an augmented fourth from
beats four to six in the bass. Finally, even the phrase's concluding
semi-cadence refuses to fall into a simple dominant chord; instead,
Roussel provides the augmented dominant.
The dotted rhythms characteristic of the dance are well
varied and spaced, occurring in all supporting voices at the beginning
of each metrical subdivision, but otherwise absent from all but one
or another voice at intervals that maintain the dance's character

122
without evolving into too pervasive a figure. The thus subtly con
structed dotted rhythmic figure occurs throughout the movement and
provides its principal unifying feature. The other important rhythmic
aspect of the "Sicilienne" is the separation of each measure into
units of 6/8 and 12/8 sections, resulting in what Cortot has called
7^
". . . a curiously asymmetric cadence." Of course, Roussel's pen
chant for asymmetry has already been observed in the "Danse au bord de
l'eau" movement of Rustiques as well as in other works. Cortese noted
that this Rousselian characteristic was a life-long one:
The subdivision of a measure into two asymmetric sections

constitutes a predilection which Roussel had already affirmed in
the works of his first period, and which he was not to abandon
throughout the course of his creative evolution . . . . This
peculiarity of the frequent asymmetric subdivision of the measure
serves to underline, in general, the rhythmic vitality which
animates Rousselian compositions.74
However, more pertinent to Roussel's artistic evolution at this point
in his career is the possible association between the rhythmic-accentual
basis of the "Sicilienne" and the Karnatic rhythmic pattern Rupaka
tala. A tala in the Karnatic tradition is a preset, recurring
rhythmic pattern. The "Sicilienne," in its unbroken alternation of
two beats and four (6/8 and 12/8) clearly and fascinatingly corresponds
in its rhythmic and metrical shape to the Rupaka tala, shown in Example
73. Cortot, op. cit., 130 [author's translation].
74. Louis [Luigi] Cortese, "Albert Roussel," Rivista Musicale Italiana

XLI/6 (Jun. 1937), 599-600 [author's translation].
75. Appendix, 237.
74 as demonstrated by Popley.^
Example 74. Karnatic rhythmic pattern Rupaka tala.
x x
1 2 / 3 4 5 6
x indicates a clap; ' counting with fingers; ~ a wave,

in descending order of emphasis.
The second principal theme enters on a C sharp minor seventh
chord with the raised seventh (Example 75). For the first time, the
theme itself, rather than just the supporting voices, appears in the
Example 75. Op. 14, No. 2, mm. 5-6.
Tem po
PP
•?
^
I'tM ’LJ i-|rnn 7
dotted rhythmic figure which, together with this B theme's more rounded
lyricism, provides a sense of greater momentum. The tonality of the
phrase is firmly still F sharp major; however, individual voices move
76. Herbert A. Popley, The Music of India (Calcutta: Association Press

London: Oxford, 1921), 78.
124
into and out of various related keys, such as C sharp major and B
major. The chromaticism continues to be well developed and contributes
to a sense of an expanded tonality. The colorful bittersweet use of
dissonance which results from the juxtaposition of tonally disparate
contrapuntal lines is particularly evident in the B theme. The figure
which enters in the tenor on the third beat, measure five, for example,
forms a minor ninth followed by a minor seventh with the melody.
Further clashes occur between the G sharp and G double sharp on the
fourth beat, the B natural and A sharp on the sixth beat as a major
seventh, followed by an A sharp-B natural minor second combination on
the first beat of the 12/8 section. Later, at the ninth beat, the
lower voices, on D sharp and B natural, combine pungently with the
C sharp-A sharp of the upper voices.
The consequent phrase (measure 6, Example 75), similar in
melodic shape to its antecedent, ends on a semi-cadence in the final
three beats of measure six in the related minor with a secondary domi
nant seventh (flat fifth) of the dominant (i.e., the chord E sharp-
G double sharp-B natural-D sharp functioning as secondary dominant to
the dominant of D sharp minor). However, in the following phrase
(Example 76), when the B theme returns in an altered form, the tonality
is G sharp dorian rather than the expected relative minor. Roussel
once again demonstrates his technique of development by harmonic vari
ation of the same or a similar melody. In addition, the accompanimental
figure in double notes is a departure from the more contrapuntal original
appearance of the theme. The return to D sharp minor by means of the

125
Example 76. Op. 14, No. 2, mm. 7-8.
l«ffl katf
P frit doux
JtMM.
(£)1910 Editions Salabert.
melodic movement from C sharp to C double sharp with supporting harmony
from measures seven to eight provides a dramatic yet harmonically smooth
flowing forward momentum to end the section and return to the original
tonic, F sharp major, by the end of measure eight. The increase in
the number of unresolved tritones and other non-functional intervals
contributes to the unsettled anticipatory nature of the phrase.
The first phrase of the return of the A theme is exact
except for the substitution of the sharp dominant for the added sixth
in the opening tonic chord, resulting in an augmented tonic triad.
An unexpected return of elements from phrases d and e of the B section
follows, providing, in effect, an abbreviated and varied repetition of
the binary opening section thus far established. The B theme phrase,
however, wends its way through various implied tonal areas until a
cadence is expected in the theoretical key of G sharp major. Instead,
Roussel resolves the phrase on a.C augmented triad in which for one of
126
the chord thirds he substitutes instead an F sharp, forming a tri
tone with the bass.
The transition which follows begins with a remarkable
chord progression (Example 77), including a series of four parallel
Example 77. Op. 14, No. 2, mm. 11/12.
descending tritones in the lower voices over a B sharp pedal. The
ascending whole tone melody yields to a D sharp pedal and then the
same melody is reharmonized in a gentler, less dissonant manner.
Following the two progressions, a transition consisting of a series of
descending semitones which recalls the opening figure of the piece
transpires over a D sharp pedal in groups of two which eventually
cover four octaves. The figure is repeated twice without change ex
cept for the addition to the pedal figure of first a G sharp and then
an F sharp, setting up the possibility of a C sharp tonality.
However, the complex harmonic passage which follows, which
introduces the third principal theme area, section C (Example 78), is
abundant in tonal possibilities. While the progression of the ac-
companimental figure in the upper voices seem to revolve about C sharp
major, the lower voices variously suggest the theoretical keys G sharp
127
Example 78. Op. 14, No. 2, mm. 17-18.
«« M a r t
(s) 1910 Editions Salabert.
and D sharp major. The previous alternating meter is temporarily
replaced in section C by a straight 12/8 time signature, and a tempo
escalation begins. The dotted siciliano rhythm is taken by the tenor
melody in the first group of each measure while the bass, after an
arpeggiated multiple appoggiatura figure, moves in slow half notes.
The solemnity of the theme is realized in an idiom reminiscent of
the sonority of the organ with a persistent processional momentum.
Special note can be made of the proliferation of tritones in the
accompanying upper voices as well as the syncopated counterpoint
between the principal tenor melody and the sustained tone which begins
each of the accompanimental figures. The effect thus achieved is not
unlike that of the opening of Franck's Prelude, Chorale and Fugue, a
work also inspired by the sonority of the organ.
The consequent phrase (shown in the outline on page 119 as
phrase "1" under section C, measures 19-20) begins with the same
melody as its antecedent, but is harmonized differently and modulates
to a rather tonally unambiguous semi-cadence in the theoretical key of
G sharp major. The episode immediately following is an extended four-
phrase development and intensification of the opening dotted motive of

128
the C theme, which also reintroduces the alternating 6/8-12/8 measure
structure (Example 79). The motive is transposed in the three suc
ceeding phrases to begin first up a fifth, then a fourth and finally
Example 79. Op. 14, No. 2, m. 21.
U n p e n molviM t e n t
fretdovr
another fifth. At precisely the same point in each phrase, shown in
its first appearance in Example 79 at the last half of the fourth beat
in the 12/8 portion and marked with an accent, a sudden dramatic har
monically dissonant element is introduced in a new accompanimental
figure, at first lightly accented, but gradually becoming more pro
nounced and percussive as, in each phrase, the level of dissonance is
increased and the drama heightened. The culmination of these develop
ments is shown at Example 80, which also shows the climactic resolution
Example 80. Op. 14, No. 2, mm. 24/25.
129
of the episode, which is a "false" recapitulation of the B theme.
The recapitulation is "false" because further development of elements
of other themes, notably of those from section C, is still to occur
in this episode; in addition, the theme is stated in the remote key
of D major, whereas the real recapitulation will be in the tonic.
But by means of this early entrance, Roussel diffuses somewhat the
tensions of the preceding episode by emphasizing straightforward triads
and decreasing the level of dissonance. Tonal instability is main
tained, however, through the use of augmented intervals and a meandering
chromaticism, based loosely around D major.
Following another developmental phrase, in which elements
from section C are commingled with suggestions of the B theme, the
true recapitulation of section B occurs (Example 81) without an inter-
Example 81. Op. 14, No. 2, m. 27.
.Tempo I" <!>*« lut
vening return of the A theme. The return is brought about with con
siderable variation, almost exclusively in lower voices which have
adopted the double note accompanimental style of phrase f (see Example
76, above), but here with greater fluidity and an expansion of the
harmony. Following a harmonically varied statement of phrase g, a

130
transition begins in which development of various elements from the
three themes is effected. Just prior to the coda, a transitional
episode which begins at a high level of intensity, and then gradually
recedes from that point into a mellow, gentle dominant semi-cadence,
provides a smooth transition to the coda.
An ethereal pianissimo ostinato pattern in the upper voice
fashioned around the flat submediant (D natural) dominates the coda
(Example 82). Presented against the figure are, in turn, the A and
Example 82. Op. 14, No. 2, mm. 35-37.
B themes (measures 35 and 36, respectively), the former accompanied by
an augmented triad with a supertonic to dominant bass line. In addition
to the augmented fifth of the triad, the supertonic G sharp in measure
35, first beat, forms the diminished fifth tritone against the D natural
of the figure, and then, at the fourth beat of measure 35, resolves
131
into the minor ninth C sharp-D natural. The B theme is accompanied by
an augmented fourth tritone in the bass on the first beat of measure
36, formed by the tonic and the sharp subdominant. The B theme is
altered to include the flat submediant (the D natural on the third
beat of measure 36), which, together with the ostinato figure, gives
the entire coda a bimodal character. The concluding phrase (Example
83) involves the resolution of the tritone F sharp-B sharp into the
tonic-dominant perfect fifth against a tonic-dominant pedal.
Example 83. Op. 14, No. 2, mm. 38-39.
1910 Editions Salabert
With the "Sicilienne," Roussel displays for perhaps the
first time a sense of the potential elegance of the piano. The lush
harmonic textures and flowing lyricism of this work demonstrate an
aspect of Roussel's work that places him in the Saint-Saens and Faure
tradition of pianism of elegance and finesse. However, because of his
personal harmonic predilections and his sense of rhythmic angularity,
Roussel was able to suffuse the sophisticated surface elegance of
much French piano music with an uncharacteristic brusqueness, which is
in evidence, for example, in the episode shown in Examples 79 and 80
as well as in the coda and elsewhere in the "Sicilienne." Furthermore,
Roussel's apparent eschewal of repetition without variation in the

132
harmonization of the same or similar themes extends as well to
pianistic figurations. The extraordinarily inventive variations upon
the B theme, for example, demonstrate considerable originality for
a composer whose pianistic attainments are generally overshadowed
by his accomplishments in other areas. The various versions of the
B theme are shown by Examples 75, 76, 80 (measure 25), 81, and 82
(measure 36).
Bourree
The "Bourree," third movement of the Suite, is a triple
meter version of the dance which originated in seventeenth-century
France and first appeared in written form in the operas and ballets
of Lully (c^. 1 6 7 0 ). 77 Traditionally, a bourree is in quick duple
meter with a single upbeat. Roussel's version of the dance in 3/8
meter without an anacrusis is a potential enigma explained by Basil
Deane who noted that it "is modelled on the lively triple-time dance
of the name, common in Auvergne."^ In addition to the Auvergne
model, Roussel may also have been influenced by the example of
d'Indy, who, in his Jour d'ete a la montagne, provided, as Deane has
further noted, an authentic Auvergne-style bourree. The verve and
wit of the "Bourree" perhaps owe as much to Chabrier's brilliant
example of the form, his Bourree fantasque of 1891. This latter
77. Willi Apel, Harvard Dictionary of Music (Cambridge: Harvard

University Press, 1944), 92.

133
kinship has been observed by Demuth 79 and by Bernard, who cites the
work's frank joviality. 80
Roussel's "Bourree," in F sharp minor, is ternary in form,
with an introduction and a coda. However, both the A and the B sec
tions are themselves tripartite in structure, presenting two themes
with a varied recapitulation of the first. In addition, the return of
the A section is complicated by the insertion of an episode with en
tirely new material interposed between its first and second themes.
Intro A Trans
I Trans* II I Closing Th
1-22 23-56 57-71 72-79 80-83 84-103 104-111
f #: A: a/F: a:
B Retrans
I II I
112-131 132-159 160-179 180-186
A(w/F): A: C#: D: C#(w/A): f#:
Episode II Trans
187-198 199-243 244-257 258-273 274-289
C#: f#:
79. Demuth, French Piano Music, 58.
80. Bernard, op. cit., 114.

134
The two transitions marked with the asterisk are identical to each
other, except for the addition of a one-measure extension on the
second appearance. As can be seen by the outline, they serve differ
ent functions.
The exhilaratingly dissonant opening phrase of the "Bourree"
announces indisputably the result of Roussel's uncompromising evolution
towards the expansion of tonality, and with it, the acceptable bound
aries of harmonic combinations (Example 84). Indeed, the opening C
sharp dominant eleventh chord with the sharped seventh is a Roussel
Example 84. Suite, "Bourree," Op. 14, No. 3, mm. 1-14.

Auiim* J.-fin
5 ^ 3 = 2 ^ = ( s f a 53---- ==1
J J
-ft 1 ~ *— f------ ------ T . — ^
-^-4- fr .. fc.. ■ i
r iH
___ ... _
* & = = 4 s = cm— ■y— -1--J
I
signature for this point in his career: in addition to the tritones F
sharp-B sharp and D natural-G sharp, the chord contains, from the bass,
a major seventh and a minor ninth. The following chord in the second
135
measure is a tonic thirteenth. The second figure of the introduction,
beginning at measure eleven, expresses the progression of the sub
dominant thirteenth in second inversion to the dominant four-three
chord. Despite the harmonic expansion, the extreme dissonance, and
the bitonal implications, Roussel nevertheless remains firmly rooted
in tonality. It is instructive to note Roussel's own defense of an
enlarged tonal vocabulary as opposed to the direction taken by others
towards atonality:
For my part, I have always considered the evolution of my

writing as an expansion, a generalization, within larger and
larger limits, of sonorities long-since familiar to our ears
and to our musical feelings. If atonality appears to me a
sterile idea and very rapidly becoming insupportable, a
polytonality which, under the domination of a well-established
original key, sets off patterns which are foreign to it and
intertwines them in skillful counterpoint, can only bring to
the language a new enrichment and new possibilities. It thus
extends little by little the limits which our musical sense
refuses to recognize as anything other than noise without
meaning.
The introduction is also notable for what appears to be an
evocation, at least, of a Karnatic rhythmic pattern, the Ata tala
(subtype Khandra), which consists of the rhythmic structure 5, 5, 2,

• •
QO QO
2 as shown by both Popley and Day. The first fourteen measures
of the "Bourree" clearly fall into that unusual pattern, but inasmuch
81. Roussel, op. cit., 232 [author's translation].
82. Popley, op. cit., 75.
83. C. R. Day, The Music and Musical Instruments of Southern India

and the Deccan (Delhi, 1891), repr. ed. with new introduction
(Delhi: B. R. Publishing Corp., 1977), 36.
136
as it is not repeated anywhere else in the movement, no real argu
ment in favor of its conscious use on Roussel's part may be advanced.
The introduction concludes on a three-measure pause on the
supertonic, which, in retrospect, is significant in view of the fact
that the principal theme of the A section is built about and revolves
around the G sharp supertonic (Example 85). The melody thus being an
Example 85. Op. 14, No. 3, mm. 23-26.
elaborate embellishment of a single note, the character of the theme
derives more from its rhythm than its melodic shape. Surchamp
asserts that the "Bourree" " . . . manifests one of Roussel's innova-

84
tions: that of drawing a theme from a purely rhythmic idea." How
ever, in light of Beethoven's Sonata, Opus 53 or the C minor Symphony,
Opus 67, Surchamp's statement would be difficult to support. None
theless, the primarily rhythmic basis of this theme, which is composed
of phrases divided into two-measure units, does demonstrate Roussel's
increasing reliance upon rhythm to create structure and cohesion in a
work. The multiplicity of tonal areas touched upon in the first phrase
illustrates Roussel's statement quoted above. In measure 23, for
84. Surchamp, op. cit., 36 [author's translation].

137
example, at the outset of the theme, the progression of the secondary
diminished seventh chord to its tonic temporarily moves the tonality
to the realm of A minor. The subsequent measure (24) reestablishes
F sharp minor in the first two beats only to introduce a possible
migration to C sharp on the third beat by way of the secondary domi
nant six-five of the dominant in the home key. Upon repetition of
the two-measure melodic unit in the second half of the phrase, the
harmony is altered (measure 26) to reinforce the movement towards
C sharp by the concluding G sharp triad, the dominant of C sharp.
The consequent phrase, which follows that shown in Example 86, for
the most part a repetition of the melodic-rhythmic figure of the first
phrase, further varies the harmony and tonal implications with a series
of non-functional dominants (i.e., unresolved dominants of, respective
ly, F sharp, D, E, and G ) . A short, rhythmically based transition (
consisting of a dominant embellishment leads to yet another harmonic
and figural variation on the first A theme. Interrupted in another
restatement in transposition by a new figure (Example 86), which
Example 86. Op. 14, No. 3, mm. 47-48.
(c)l910 Editions Salabert.
features a sharp dissonant sforzando on the third beat, the theme
finally dissolves into a transition based upon an ostinato pattern in

138
the left hand (Example 87). The ostinato outlines the dominant ninth
to tonic progression against a changing harmonic pattern in the upper
Example 87. Op. 14, No. 3, mm. 60-66.
cm c.
sirtiif
@ 1 9 1 0 Editions Salabert.
voices. The transition is enlivened by a series of angular cross
accents which result from an altered metrical structure in the right
hand part against the unchanging triple meter of the ostinato. The
metrical pattern of the upper voices involves an implied heraiola effect
in its alternation between three short beats in a measure and three
long beats stretched over two measures.
Upon the abandonment of the ostinato, the second theme of
the A section is introduced (Example 88). In terms of the rhythm, this
Example 88. Op. 14, No. 3, mm. 72-75.
139
theme represents the fruition of the altered metrical structure of the
transition, here resulting in a hemiola in the upper voices at measures
74 and 75. Roussel's handling of simultaneous and contrasting metrical
patterns (in which, for example, measures 74 and 75 represent a single
measure in 3/4 while the lower voices maintain the basic 3/8 pattern
of the piece) is both deft and subtle. The off-beat accent at measure
73 further contributes to the general rhythmic instability of the
phrase.
The second theme of the A section involves as well a number
of substitutions of the fourth for the third of the chord. The D aug
mented triad at the beginning of measure 72, for example, includes a
G sharp in place of the F sharp. Inasmuch as the G sharp never re
solves to the chord third, it cannot be considered an appoggiatura.
A similar substitution takes place in the latter half of the following
consequent phrase (following the phrase shown in the example), where
the chord fourth, D natural, is used in place of the C sharp in an
A major triad. In the opening chord of the theme as well as the
accompanying arpeggio (measure 72, first and second beats), Roussel
also achieves, by means of the chord substitution, another prominent
tritone between the D natural bass and the G sharp. Similarly, the
second half of the phrase features the B sharp-F sharp diminished
fifth tritone in both the right hand chord and the left hand arpeggio
(measure 74, first and second beats).
After a brief restatement of the first A theme, divided
between the hands, a new figure, the closing theme, is introduced in
the lower voice (Example 89). This mockingly strident theme encompasses
140
Example 89. Op. 14, No. 3, mm. 84-87.
the diminished fifth tritone between the first two notes of measure
84 (lower voice), and the minor ninth, D natural down to C sharp,
between the first and last notes. The following measure's more
straightforward A major broken triad is offset by the accompanying
E dominant ninth chord in a bitonal effect. In a subsequent statement
of the figure, the mediant C sharp is lowered to C natural and thereby
introduces a passage which moves simultaneously towards both A minor
(by retaining the G sharp) and F major (by the use of a B flat in
C dominant seventh harmony). However, a transition by extension and
elaboration of the accompanimental figure against a reiterated portion
of the closing theme itself finally cadences on A minor (Example 90).
Example 90. Op. 14, No. 3, mm. 104-109.
— Eg, ■ . .
,iF _nf* TTf r
.
** — rrw.
- . &
,ri»». ft if ----- | - f = ’= ff-lf — * # = = Ef *f f
. \ h
The transition features the familiar Rousselian repertoire of augmented
and diminished triads, used to striking musical and pianistic effect
in this passage.
141
The first theme of the B section (Example 91) is in essence
a harmonic and rhythmic elaboration of a relatively straightforward
chord progression over a tonic pedal in the key of A major. Hoeree
Example 91. Op. 14, No. 3, mm. 112-115.

P t o l n n yll<
p frO tewate .7 .
— M =F-r,jh
r r r 7 ^
had already observed in 1929 that it was typical of Roussel to use a
device he called "a forced march toward the perfect chord, a desirable
QP
and agreeable conclusion after deviations from the key' to reestab
lish a key after a tonal diversion or, as in this case, to buttress
the establishment of a new key. The progression includes the opening
unresolved augmented dominant, then the Neapolitan sixth chord, the
dominant seventh and the tonic. The contrapuntal sequence of non
harmonic tones, however, B flat-A-G-F, obfuscates the prevailing tonal
ity by means of a simultaneous melodic establishment of F major.
The entire phrase appears to be a single rhythmic unit of
four beats, with the final beat foreshortened. Taken together, the
four measures represent an 11/8 unit, divided as 3, 3, 3, 2.
The more lyrical second theme of the B section reverts to
3/8 and has the character of a waltz with touches of irony (Example 92).
85. Hoeree, "La Technique," 288-289 [author's translation].

142
Example 92. Op. 14, No. 3, mm. 132-137.
Curiously, a symbiosis appears to exist between the theme itself and
the pianistic figure used to express it: the one arises from the
other. The A major harmonic implications remain clear while the
texture is made sparer and more crystalline. The extent to which
harmonic combinations have been expanded, even within the key, is
evident in measure 133 where the lower voices are moving in a pro
gression of the supertonic to dominant, while the upper voices are
simultaneously outlining the dominant seventh to tonic movement.
The second phrase of the theme area, shown starting at measure 137,
is a direct transposition to the key of C sharp major, the dominant
of the home key of the piece. An amplified and somewhat pompous
phrase which appears to be a comic treatment of the lilt of the waltz
rhythm leads to another transposition of the theme to D major and
after some development, a sudden E dominant seventh chord sets up
the expectation of a return to A major. Instead, however, Roussel
brings back the first theme of the B section, transposed to C sharp
major. A remarkable stroke of harmonic unity is thus achieved, in
that the new tonality is the dominant of the home key for which this
theme is a tonal preparation. At the same time, the simultaneous
second tonality (A major), stated in the non-harmonic off-beat

143
counterpoint as D-C sharp-B-A, is a melodic cadence in the original
key of the B section, thus tying the two principal tonalities of the
section together in a single harmonic progression.
A retransition, in which C sharp dominant ninth chords are
reiterated in alternating measures of 3/8 and 2/8, leads to a reca
pitulation of the A section. The return is varied by a rhythmic
elaboration of the accompaniment, resulting in a propulsive and
energetic intensification of the theme (Example 93). The new rhythmic
Example 93. Op. 14, No. 3, mm. 187-190.
T « * n n n lm e J-= 72
(c)l910 Editions Salabert.
pattern, which fills in the off-beats, results in a highly animated
and agitated effect, with a greatly intensified feeling of momentum,
especially by means of the syncopated octaves on the latter half of
the third and first beats of each two-measure pattern. In addition
to the rhythmic variation, the harmony of the theme has been completely
altered as well. Whereas in the exposition of the A theme, melody
and harmony coincided predominantly to form triads within the expanded
tonal area, in the recapitulation, the connection between melody and
harmony is more tenuous, resulting in a more stringent dissonance as
the harmony proceeds independently until the semi-cadence on the

144
dominant at measure 190, third beat. The embellished dominant transi
tion figure of the exposition ( m i) , altered to end on the tonic
rather than the dominant, leads to what would at first appear to be
a variant of the principal theme, but is instead the beginning of an
entirely new episode interpolated into the exposition.
The variant (Example 94) is in fact a new theme which under
goes separate development throughout the episode and is presented in
Example 94. Op. 14, No. 3, mm. 199-204.
U n |i c u pluw u n i m c J*«80
alternation with a new rising figure (marked "fondu," or legato and
mellow in tone, in contrast to the agitated figure in the left hand)
in measures 203-204. The addition of a sforzando on the latter half
of the second beat of the new figure, together with a continuation of
the agitated rhythmic elaboration of the recapitulation's accompani-
mental figure, intensifies the propulsiveness of the section. The
second new figure, more lyrical and legato, provides an effective foil
to the general commotion; its character, however, is temporary, for

145
upon subsequent development of the figure, it, too, takes on a
rhythmic intensity prepared by an alternate hand trill which ultimate
ly explodes into a vivacious and extroverted phrase. Example 95 shows
part of the trill (measures 227-230), the figure's final transforma
tion (measures 231-232), and the resulting phrase (measures 233-237),
Example 95. Op. 14, No. 3, mm. 227-237.
>— i
which is, in effect, a working out of the energy previously generated,
especially the concluding arpeggio figure. The latter, upon repetition
of the phrase, is extended in a descending-ascending pattern which
ultimately covers over five octaves and leads directly into a recapitu
lation of the second theme of the A section, which had been delayed by
the episode.
The second A theme returns as the dramatic climax of the
movement. The tempo is somewhat more expansive, to allow for the in
creased accompanimental activity (units of four thirty-second notes in

146
place of the original sixteenth-note triplets). The dynamic level is
increased to fortississimo, with the additional directive "lourdement,"
or heavy and weighty. Increased development of the figure takes place
through harmonic variations. The return of the first A theme is ac
companied by a gradual regaining of the previous faster tempo and by
yet another figural variation of the theme (Example 96). And just
Example 96. Op. 14, No. 3, mm. 258-259.
tres $cunt/e
prior to the transition to the coda, another rhythmic and harmonic
elaboration of the theme is presented (Example 9 7), accompanied by a
triplet figure which combines an E sharp major triad against the theme
in C sharp major.
Example 97. Op. 14, No. 3, mm. 265-267.
^ 1 9 1 0 Editions Salabert.
The transition to the coda is identical to that between the
first and second A themes in the exposition (Example 87, above), except
147
for a one-measure extension. The passage is preceded by a statement
of the A theme which, after several digressions, reestablishes the
tonic and represents the first appearance of this theme in conjunction
with the transition's ostinato figure. The ostinato emerges from its
supportive position to dominate the beginning of the coda, with both
hands engaged in its presentation, but in contrasting keys and with
the upper voice modified (Example 98). Each of the four figures is
No. 3, m. 290;
stated three times in succession, beginning on successively higher
notes in a richly clangorous harmonic progression. Further complexity
results from the changing intervallic relationship between the parts
at each transposition.
As a bridge between the ostinato figure and the following
significant material, Roussel provides a dramatic arpeggiation of,
respectively, the tonic, the minor dominant, and, as spelled, the
augmented mediant with the flat third (Example 99). The progression
is repeated twice at successively higher octaves. The penultimate
phrase of the coda is an evocation of the first B theme (shown in
Example 91, above), presented over a dominant pedal. Finally, the
concluding five-octave arpeggio flourish is a remarkable expansion of

148
Example 99. Op. 14, No. 3, m. 303.
the dominant. The arpeggio, spelled F double sharp-B sharp-D natural-
E sharp, is an altered dominant eleventh chord. The alterations, which
create considerable harmonic distance from the traditional confines
of the key, include the sharp seventh and eleventh. The altered
eleventh finally resolves into a simple dominant triad for one beat
before the piece concludes with a seven-octave tonic sforzando over
two beats.
From a purely pianistic standpoint, the "Bourree" is
clearly one of the most effective pieces Roussel wrote for the instru
ment, and also one of the most virtuosic. The exuberant introduction,
for example, is effectively spaced and voiced to provide a crystal
line texture. The barbaric percussiveness previously explored in
the "Prelude" is refined here in the rhythmic opening figure of the
A theme, with all its subsequent variations as well as in the transi
tion figure shown in Example 87. The percussive aspects of the piano
are married, as it were, to its sonorous capabilities. A technique
requiring a percussiveness of the finger tip alone is exploited in
the right hand figure at measure 84 (Example 89). The first B theme
is an idiomatic figure which effectively uses the sonorities of the
piano for rich harmonic color (Example 91). The placement of the
149
counter melody in a contrasting key in an inner voice to be played
by the thumb is an indication of clever manipulation of textures for
maximal clarity. The propulsive rhythm which characterizes the reca
pitulation of the first A theme (Example 93) taxes the left hand in
its necessity to coordinate the syncopated rhythm and to negotiate
the very rapid and wide leaps (e.g., measure 188). The alternate
hand trill, pioneered by Liszt, generates great pianistic excitement
and energy as it leads to the intensification of the second motive
of the episode (Example 95). The great arpeggiated sweeps in the left
hand at the recapitulation of the second A theme, as well as the wide
five-octave arpeggio which precedes it, pose a considerable challenge
in pianistic athleticism. Taken as a whole, the "Bourree" demonstrates
great advances in Roussel's treatment of several particularly idiomatic
keyboard techniques, and shows that his intensely driven rhythmic
style, his taste for dissonant and ringing sonorities, and his search
for contrapuntal clarity could be achieved within a purely pianistic
idiom.
Ronde
The concluding movement of the Suite is entitled "Ronde."
Like the other movements of the work, its name derives from its func
tion; the rondo in this instance includes a second episode which is
developmental in character and one of the returns of the A theme is
in a contrasting key. The first appearance of the B theme is in the
dominant, and at its recapitulation, the tonic is delayed, but does
return within the section. There is great economy in the use of

150
themes: many figures in the transitions are derived from elements
of the principal themes and a general thematic interrelatedness is
evident throughout the movement.
A Trans B Retrans A
1-18 19-26 27-46 47-48 49-57
F#: C #: C:
Trans C Retrans
58-61 62-77 78-81
A^ : C: G: (F#):
A B Retrans A Coda
82-99 100-115 116-125 126-134 135-142
F#: : F#:
The parentheses used in conjunction with the retransition's key
(measures 78-81) indicate that the key is implied rather than firmly
established.
The first theme enters without introduction in the key of
F sharp major (Example 100). However, two factors, one external,
the other internal, suggest a tonal dimension beyond a traditional
harmonic analysis, and instead point toward an Indian modal basis for
this theme. The external evidence is provided by Gil-Marchex's state
ment that "Between the composition of the Sicilienne (September 1909)
and of the Ronde (April 1910) A. Roussel undertook . . . a trip to

151
Example 100. Suite, "Ronde," Op. 14, No. 4, mm. 1-10.
t r . . ................ ..............
j j i p ~ j ' j "j | tr
n — ft-
^ i?1** crrsc. motto
/ '
7 'T B W /x * * ------------ ^
India, Cochin China [Vietnam] and C a m b o d i a . T h u s , of all the
movements of the Suite, as noted previously, only the "Ronde" was
completed after the trip to India, during which Roussel had apparently
intensively studied traditional Indian music. Accordingly, and as
internal evidence, analysis of the principal theme of the A section
shows a purposeful exclusion of the fourth and seventh degrees of the
scale throughout the theme's length. The Hindu raga Bhupali (Example
101) corresponds exactly to such a scale and, as Kaufmann points out
Example 101. Hindu raga Bhupali.
73
W --------
# * -------- 1-
86. Gil-Marchex, op. cit., 79 [author's translation].

152
— 87 —
in The Rlgas of North India, the prominent tones of this raga are
the third and sixth steps (corresponding to A sharp and D sharp in
Example 100); melodies or phrases usually end on one of these promi
nent tones. Roussel’s melody clearly falls into the raga's pattern
by the importance of A sharp in the fourth to the seventh measures, as
well as the final D sharp.
Tonal expansion grounded within a predominating key continues
to be a hallmark of Roussel's style. Chromatic alteration is carried
out within the framework of Roussel's peculiar harmonic language;
thus, tritones continue to be a mainstay of the texture (e.g., the
parallel tritones in the lower voices at measures six and seven and
the augmented fourth in the bass on the third beat of measure two).
The raised dominant tone, as if in preparation for the surprising
trill which concludes the theme, is employed to form the augmented
tonic triad at measure five as well as the altered dominant seventh
on the third beat of measure four.
After a repetition in transposition of the A theme, a four-
measure transition in the key of D sharp major is presented and then
repeated in G sharp major. Finally, a new theme, the first episode
(B), is introduced in the key of C sharp major (Example 102). This
graceful theme, over a limpid, flowing triplet arpeggio accompaniment,
is an effective contrast to the more outgoing, extroverted A theme.
87. Walter Kaufmann, The Ragas of North India (Bloomington, Indiana:

Indiana University Press, 1968), 66-67.
153
Example 102. Op. 14, No. 4, mm. 27-30.
— »
However, like the A theme, the episode also yields to analysis within
an Indian modal framework. Specifically, with its construction
around the tone F sharp and emphasis upon D sharp, both in the penulti
mate and concluding measures of the phrase, the theme outlines the
— — — — QQ
Karnatic mela raga Mechakalyani, ° shown in Example 103. Inasmuch
Example 103. Karnatic mela raga Mechakalyani.
as the character of the mela raga is, according to E. E. White, one of

89
"merriment," the context in which Roussel uses it is apt. Because
Roussel develops the harmony freely very soon after the statement of
88. Kaufmann, RSI, 650-52.
89. Emmons E. White, Appreciating India's Music: An Introduction, with

an emphasis on the Music of South India (Boston: Crescendo, 1971),
74-75.
154
the theme, the janya (subordinate) raga within the mela cannot be
further determined. However, in an elaboration upon his discussion
of the Karnatic rhythmic pattern Rupaka tala (previously used by

90
Roussel in the "Sicilienne"), White describes the subtype Khandra
as consisting of the metrical pattern two plus five. Seen in half
measure units, the B theme of the "Ronde" coincides with the Khandra
subtype in the following way: the first measure of the theme repre
sents two isolated beats in the short phrase indicated by Roussel;
subsequently, the long phrase which extends from measure 28 to the
first beat of measure 30 contains five beats, or half-measure pulsa
tions, in a continuously flowing line. This may be represented
graphicallv a?? fol 1nws :
4
1 2 / 1 2 3 4 5
After the principal theme of the episode, Roussel intro-
duces a new motive (Example 104) which, upon careful examination, is
seen to be related to the principal theme itself, through being of a
contrasting character. The second and fourth measures of the new
motive (measures 32 and 34) correspond to the motivic elements of the
principal theme (shown above in Example 102) found from measure 28,
third beat to measure 29, first beat, and measure 29, third beat to
measure 30, first beat, respectively. Roussel intimates a change to
90. Ibid., 89.

155
Example 104- Op. 14, No. 4, mm. 31-34.
A n i i n t ' / u n p«*u
^§§fN
the minor mode by the E natural at measures 31 and 33, but subsequent
ly restores the basic C sharp major tonality. At the same time, the
presence of the raga Mechakalyani is maintained by the phrase's con
cluding D sharp on the third beat of measure 34. A transposition of
the second motive follows, together with a significant change of
harmony and accompanimental configuration. Variation of the principal
motive of the episode (Example 102, above) is then carried out by a
change in voicing, in which the theme is stated in the left hand
(Example 105), amplified by the addition of octaves, and a new harmonic
and figural accompaniment is provided in the right hand. Not only are
the harmonic implications of the theme altered, but the gracefulness
of the theme's first appearance in Example 102 is transformed in this
livelier, more percussive version to correspond more closely with the
character of the second motive (shown in Example 104). Conversely,
the subsequent third harmonic and figural variant of the second motive
156
Example 105. Op. 14, No. 4, mm. 39-44.
L > ™ 1
~ i* 3 ♦
(beginning at measure 43, Example 105) is transformed into a more
gracious, flowing figure than its angular antecedent had been. The
remarkable reinterpretation of the characters of these two themes,
an exchange of personalities, as it were, is effected without a change
in the melodies themselves, but only in their surroundings.
A retransition based on elements from the opening theme leads
to a return of the A section in the key of C major (Example 106). The
Example 106. Op. 14, No. 4, mm. 49-52.
,j ■ ;— ^ 1 -
^ T X ’ p * .. ... >
XT ppg;, p - ^
it ~— :— ^^TiTri Tr -----
.3^* ^ LJ-U LJ- U

157
principal theme is stated in a two- or three-voiced chordal texture
over accompanimental passagework in scales and trills. The latter,
with the incorporation of F sharp and B flat into the prevailing C
major tonality, suggests further Indian modal borrowings and also
provides the background for the B flat-E natural tritone (measure 49).
The independent direction of the parts results in a natural dissonance
in such combinations as G sharp-G natural and A sharp-A natural (meas
ures 50 to 51). What is perhaps most striking about the dissonance
and the expanded tonality here and elsewhere in this work is that it
seems to arise from a visceral impulse on the part of a composer
seeking an indigenous language rather than from an artificially de
rived system or a superficially imposed dissonance factor. The smooth
ness and inevitability of the combinations arise from the independence
of the contrapuntal lines.
The development of section A's closing figure into the area
of B flat major (in place of the trill which closed the earlier
appearance of the theme) leads to a transition which consists of a
series of arpeggios, concluding on an A flat-C major chordal combina
tion. A new episode (C), which is developmental in character and
whose themes are largely derived from previous thematic material, en
ters initially in A flat major (Example 107). The fourth and first
notes of each group recall the opening figure while the concluding
four-note motive in measure 64 is derived loosely from a short figure
immediately preceding the first return of the A theme. The light
dance-like character of the theme is enhanced by the syncopated two-note

158
Example 107. Op. 14, No. 4, mm. 62-64.
motive in the upper voices, which also provides a frequently pungent
dissonance. In a rare indication, Roussel has marked the passage
to be played without pedal, emphasizing a short, dry sound which
contrasts with the previous transition's "tres fondu" (very mellow)
sustained quality. In sudden contrast to the foregoing, a new phrase
enters pianissimo and with pedal. The material is a derivation of the
opening motive, but stated in ascending and descending tritones from
B to F in the left hand. Meanwhile, the upper voices are engaged
in a trill-like figure which embellishes G in the first measure and
D in the second. The two notes alternate with the surrounding dimin
ished third (F sharp-A flat and C sharp-E flat, respectively). After
a repetition of the two-measure figure (amplified in the left hand
with octaves), the first theme of the episode returns, transposed to
C major and marked forte once more; no other change is made, and the
contrasting phrase returns transposed as well to begin on F sharp.
The tritone F sharp-C natural thus formed gives way to a transition
based on the opening motive of the movement in the original tonic,
F sharp. It is an unusual and risky practice to recapitulate the orig
inal tonality together with, as in this case, a portion of the original

159
theme before the actual recapitulation, since in doing so the composer
can easily undermine the recapitulation's dramatic release of tonal
tension which precedes it. An example of the latter from the romantic
literature is the first movement of Robert Schumann's G minor Sonata,
Opus 22, in which he deflates the effect of the return of the tonic
by stating the principal theme near the end of the development section
in the original key. Roussel, however, rescues the work at hand from
this particular pitfall by a simultaneous and suspenseful chromatic
dominant embellishment in the accompaniment. After a four-measure
repetition of this figure, the recapitulation which follows has the
appropriate dramatic and cleansing effect.
The second return of the A theme is, in effect, a second
variation. While the theme is simply amplified with octaves, the
accompaniment is transformed into a four-note broken chord figure in
sixteenth notes. As is now typical with Roussel, the harmony, too,
has undergone a significant rethinking, in this case towards greater
simplicity. The second portion of the theme is accompanied by an
acceleration of the rhythm in the form of a quintuplet sixteenth note
figure in the left hand; further rhythmic impetus is injected into
the figure by the use of alternating sforzandos in the left hand on
the first beat and in the right hand on the second half of the second
beat. New color and a greater variety of dynamic levels also separate
this return from the original. For example, the augmented dominant
trill, marked "sffz" within a fortissimo context, leads to a sextuplet
figure in crescendo followed by a restatement of the theme subito

160
mezzo piano. Then the second portion of the theme returns fortissimo
and in octaves with the previous on- and off-beat sforzandos amplified
to "sffz". The return culminates in a change of key to E flat major,
the pivot into which is provided by the final quintuplet figure, an
alternation of G sharp-A sharp which gives way to its enharmonic
equivalent, a trill on A flat in the new key. In place of the previous
transition to the first episode (measures 19 to 26, Example 102),
Roussel substitutes the subdominant trill in the new key over a pre
dominantly dominant broken chord figure for two measures. Having
abandoned his earlier detailed pedal indications with Opus 14, it is
significant that Roussel in this passage specifies that the pedal
should remain down through almost the entire two-measure transition,
starting with a fortississimo and building the sonority by means of
the pedal.
The first episode returns subito piano in the key of E flat
major (Example 108). The theme is transformed by the extraordinarily
Example 108. Op. 14, No. 4, mm. 100-103.
161
fluid pianistic figuration in which the accompaniment is incorporated
into the melody; the effect is of a fusion of the one with the other
in which there is a natural ebb and flow between them. Moreover,
Roussel demonstrates here a remarkably subtle understanding of the
pedal. The precise indications for this passage strike a very effec
tive balance between the need for melodic and harmonic clarity and the
use of the pedal for color. The second theme of the episode then
bursts in rudely, interrupting the limpid accompanimental flow, in
a heavy and harmonically varied version of the figure which features
a new tritone in the accompaniment on each beat. The second half of
the figure, however, reverts to the sweeping accompanimental arpeggio
of the beginning of the episode. After another statement of the open
ing theme of episode B, the second theme is brought back once more,
transposed to the original tonic (F sharp major) and further varied
in figuration and harmony.
The retransition which had preceded the first return of the
A section is then recapitulated with considerable elaboration and ex
tension, but generally in a style similar to its original appearance
and again featuring its own characteristic figure.
The final return of the A theme is a dramatic and expansive
variation in which harmony, voicing, figuration and tempo are trans
formed (Example 109). The recapitulation is limited to a statement of
the first period with the final extended trill on the unaltered
dominant and supertonic serving as transition to the coda. The latter,
after brief references to the opening figure of the A theme, dissolves

162
Example 109. Op. 14, No. 4, mm. 126-128.
t-'largifeM'z beaucoup le m o u v
**5
irs basses frSs eti dehors V
into a brilliant expansion of the magnanimous accompanimental figure
introduced in the final recapitulation. After a brief flirtation into
the area of the mediant, the movement concludes with a witty and abrupt
silence before the concluding tonic resolution.
The "Ronde" is a lively, energetic and inventive work. Its
very invention, however, somewhat undermines its effectiveness in
that Roussel's striving for originality and variety has resulted in
a surfeit of styles which detracts from the cohesion of the movement
as a whole. The highly varied and inventive pianism, on the other
hand, provides some strikingly effective passages. The numerous
transformations of the B theme, for example, explore the motives of
the episode from a number of contrasting viewpoints, realized almost
solely by means of figural variety: the piano, in other words, is
used indigenously as the vehicle for variety and development. Virtu-
osic demands abound in the "Ronde,” especially the rapid scalar pas
sages in the left hand and the passagework involving elaborated trills
in thirds and other intervals in the right hand. As previously, but

163
perhaps to a greater extent here, this piece calls for a great variety
in articulation and color, in dynamic contrasts, and in sophisticated
pedal techniques.
Sonatine, Opus 16 (1912)
Modere - Vif et tres leger

Tres lent - Modere
Between the Suite and the Sonatine, the only work Roussel
completed was the orchestral tryptich Evocations. The three works
were all written in a more or less similar style during a time when
Roussel was experimenting with new forms of expression which included
an expanded harmonic sense principally augmented by a study and in
corporation of Indian modality, as previously noted. Thus, the
Sonatine does not represent a radical departure in any sense for
Roussel in terms of its basic language and style. Rather, it is the
culmination of a style period in which the results of his experimen
tation with harmony, form and counterpoint, and, with respect to the
piano, sonority and texture, come to a sort of fruition. For example,
while Indian modes are no longer used in their original forms, the
harmonic language has been enriched by their previous employment. And
whereas the Suite contained a profusion of pianistic styles whose very
variety occasionally threatened to undermine the coherence of the whole,
the Sonatine is realized with a no less inventive pianism, but one
which maintains a more consistent artistic approach.
The form of the Sonatine is perhaps the principal experiment
attempted by Roussel in the work. The use of the term sonatina itself
164
implies a condensation which Roussel took a step further by tele
scoping four movements into two, wherein the first movement encompasses
a sonata-allegro form (without a formal development section) and a
scherzo, while the second movement combines an adagio movement and a
rondo. While multi-dimensional one-movement forms were by Roussel's
time quite common, having traversed such formal experiments as
Liszt's and Richard Strauss's orchestral poems and the even more
historically remote examples provided by Bach's keyboard toccatas,
Mozart's fantasies and Beethoven's continuous Sonata quasi una Fantasia
(Opus 27, No. 1), there does not seem to be in the literature another
example of Roussel's experiment in the Sonatine. In addition to the
two-movement telescopic form, further distinction is provided by the
interrelatedness of the themes: the principal theme of the scherzo,
for example, is derived from the subordinate subject of the opening
sonata-allegro section and the slow movement contains many of the
elements of the following rondo. However, no discernible cyclic rela
tionship exists between the two formal movements themselves.
Modere - Vif et tres leger
The first movement, in which Roussel reverts to his earlier
impressionistic practice of frequent tempo modifications, is labeled
"Modere" for the opening section and "Vif et tres leger" for the
scherzo. The "Modere," in B minor, follows the classical model in
comprising two principal thematic areas in the exposition, no formal
development section, and a recapitulation. It departs from the clas
sical model in that the recapitulation is effected with significant

165
elements of development by variation and further that it fails to
recapitulate the second thematic area in the tonic. The latter is
a concession to Roussel's two-movement form in that the return of the
second theme area is concurrently a tonal and thematic preparation for
the scherzo, as well as being an introduction to it. The second por
tion of the movement comprises a scherzo in the dominant of the home
key (G flat major by enharmony), and a modulatory trio in which the
key of D flat major predominates. The scherzo is reprised with minor
variations and is followed by a coda based on elements from the scherzo.
Exposition
IA IB Trans II Retrans
1-27 28-46 47-50 51-67 68-71
b: Bb-g: e*:
Recapitulation
IA' IB' II'(abbr) Trans
72-85 86-104 105-112 113-117
b: Gb-el>:
Scherzo
A(II) B Retrans A' B' Trans
118-133 134-156 157-162 163-178 179-188 189-201
G^: bb :
166
Trio Scherzo Coda
C(IA) D Retrans (Abbr w/minor var) (A)
202-227 228-250 251-257 258-296 297-325
D^:f#:A: G^:
The main theme of the exposition, which begins without intro
duction, is a long, sustained melody extending to six measures (Example
110). Competing with the simplicity and diatonicism of the theme, the
Example 110. Sonatine, Op. 16 (first movement), mm. 1-7.
Modere (J=: 84)

inner parts are in a state of almost constant flux and contain numerous
non-harmonic tones, principally appoggiaturas and passing tones. As
a result of the rhythmic motion of the lower parts, the bass, which in
almost every case also outlines the root movement of the progressions,
is delayed until somewhere within the latter half of the beat on which
it occurs. The effect is of fluidity and lightness. Roland-Manuel1s
defense of Roussel against critics who accused him of writing with

167
"fausses basses," previously cited in the discussion of Opus 5, No. 1
(page 64), applies as well here: Roussel's taste for subtly balanced
rhythms, purposefully devoid of heavy basses, results in an airy,

91
flowing style of limpid fluidity. The harmonic progressions out
lined by the melody and bass are straightforward, while the inner
parts provide such Rousselian signatures as the tritone sequence on
the second beat of the opening measure as well as numerous other tri
tones throughout the phrase. In addition, in subsequent phrases, pun
gent dissonances are provided by the many sevenths, ninths and dimin
ished octaves. A repetition of the opening phrase, with minor harmonic
variations, leads to the period's concluding phrase in which Roussel
prepares for the entrance of the second thematic element within the
first theme area by the introduction of a continuous sixteenth note
movement in the alto. The new figure (Example 111), based on a domi
nant pedal, includes two elements, the first a chromatic, ascending
Example 111. Op. 16 (first movement), mm. 28-31.
E n a c c e le r a n t Un pe lt p l u s v itc
pOCO

91. Roland-Manuel, o p . cit., 21.

168
flourish (measures 28-30) , and the second a rhythmic fillip featuring
the bright and surprising Neapolitan (flat supertonic) harmony, and
an accented appoggiatura in the right hand with a series of four
tritones in the lower voices (measure 31).
A new phrase, containing yet another motive, enters in the
parallel major, again over a dominant pedal (Example 112). Upon
repetition, the harmony of measure 40 is altered to form aseries of
augmented triads which by their harmonically destabilizing nature
A n l m e ( J s 1U(>)

Theodore Presser Company, Sole Representative U.S.A & Canada.
temporarily result in tonal confusion. The purpose of the latter pro
cedure is made retrospectively apparent when Roussel repeats the motive
shown in Example 112 in the key of A flat, thereby effecting a sudden
modulation rescuing the foundering tonality created by the augmented
triads with the establishment of a strong new tonal center.
After a key signature change to two flats, a descending
major second motive developed over four measures in a continuously
shifting series of tonal implications serves as a transition to the
subordinate theme area of the exposition. The new theme (Example 113)
alternately moves in the direction of either B flat major or G minor

p (rhfondu

in a natural commingling of the two tonalities. Development and
repetition of the theme in modulation takes place with the addition of
new harmonic backgrounds and directions, featuring especially the
addition of a number of tritones and an expansion of tonal areas by
the addition of non-harmonic tones.
In place of the classical dominant preparation for the re
capitulation, Roussel's retransition takes the form of a statement of
the principal theme in the lower voices in E flat minor while the
upper voices form a rich, romantically lyrical new counterpoint.
Roussel did not altogether abandon the practice of dominant preparation
inasmuch as the dominant of the B minor home key, F sharp, is enhar-
monically equivalent to the related major of the key of the retransition
and, furthermore, the counterpoint emphasizes and revolves about the
tone G flat. Thus, to the ear, if not to the eye, the recapitulation
is brought about with satisfying preparation.

170
The return differs in marked respects from the exposition;
in effect, it is a combined development and recapitulation. The
variances include the division of the theme between the left and right
hands, the increased rhythmic movement of the counterpoint, significant
new harmonic settings and considerably fewer repetitions of various
phrases as well as the complete absence of others. In addition, the
dynamic level of the first thematic element is maintained at a steady
fortissimo in contrast to the subdued level of the exposition. The
differences between the exposition and recapitulation are apparent
in the latter’s opening phrase (Example 114, compared with Example 110,
above, from the exposition). The developmental character of the
recapitulation is readly observable.
BU MouV T rc ii euergli|uu (J= l.'iil

Curiously, the second thematic element of the first theme
area is recapitulated in A minor, the purpose of which ultimately be
comes apparent when the second theme is recapitulated in G flat major.

171
Thus, the key relationship of the exposition, B minor-major moving
through A flat major to B flat-G minor, is recreated in abbreviated
form by means of the progression A minor-major to G flat major, a
descending augmented second relationship corresponding to the earlier
B to A flat movement. In the recapitulation, however, the. progression
is arrested upon achieving G flat major without further progression to
what would be A flat major if the recapitulation had continued as did
the exposition.
The return of the second theme is abbreviated and fragmented.
Only a brief reference to the opening two-measure motive recalls the
theme (Example 115), while the accompanying material is completely
l* n p«*u m o l i t a i n l i n e

altered. The gently swaying alto trill redefines the character of
the theme and provides a pungent counterpoint in the following phrase
when a new bass figure in G major intrudes (Example 116). If up to
this point in the movement the multiplicity of confluent tonal areas
could be said to be subtly integrated, here Roussel's bitonality is
bold and striking. The characteristic tritones and minor seconds,
diminished octaves and other dissonant intervals arise naturally from

172

the counterpoint rather than being artificially imposed. As noted
previously, the second theme is not recapitulated in the tonic because
of its dual function as both a return of the second theme and as a
tonal and thematic introduction to the scherzo. Having established
the key of G flat major (by enharmony, the dominant of the home key
of B minor), the tonal background for the scherzo is set.
The scherzo itself opens on an accompanimental figure in
octaves in the right hand, which had developed from the closing motive
of the first portion of the movement and serves to accompany the theme
of the A section of the scherzo in all its appearances. The A theme
(Example 117) also derives from the earlier section, in that its first
four notes coincide thematically with the first four notes of the
second theme of the sonata-allegro section (shown above in Example
113, measures 51-52, marked with accents: D-C-F-C). For the scherzo,
the theme derived from the four-note figure and its subsequent exten
sion into a full four-measure phrase takes the form of a bright, dry
173
V l f c t t rr fi l e g e r (J=*iHl> fimill
I* f • p 'T m__ r i* r p... p 'f' a.._
p tr'aaaccentmiearc
~5 7— JM=
m m s
h :P i5 4 ^
(5)1912 Durand S.A. Used by Permission of the Publisher,

series of octaves with the open fifth from the bass. An exception to
the latter is the augmented fourth tritone formed in combination with
the C flat at the third note of the theme, and elsewhere. At various
points throughout the A theme area, the melody coincides with the un
changing alternating B flat-G flat accompanimental figure in some
highly dissonant combinations of, for example, the major ninth and
the major seventh.
The second portion (B) of the bipartite scherzo comprises
four phrases containing different but related themes. The first two
of these are shown at Example 118. The lively, bouncing figure begin
ning at measure 134 is a three-measure phrase which is then followed
by a series of three two-measure units beginning at measure 137. The
hardy boisterousness of this section is again reminiscent of Chabrier
and of Roussel's own "Bourree" from Opus 14. In the present instance,
however, Roussel demonstrates an economy not previously apparent in
his use of transparent textures and short rhythmically propulsive

174
units. The ease with which contrasting harmonic areas are combined
is manifest, for example, in the bitonal effect at measure 140, in

which the E flat minor harmony of the upper voices contrasts mockingly
with the left hand arpeggio beginning on E double flat and which, by
enharmony, forms the D dominant seventh chord. The use of syncopated
rhythm at measure 134 and thereafter at measures 137, 139 and 141 is
also characteristic and serves to unify the entire section as another
example of Roussel's dependence upon rhythm to give shape and formal
balance to a work.
Another phrase of this section, shown at Example 119, is
highly indicative of the expanded tonality of Roussel's language at
this point in his career. Such simultaneous cross relationships as the
B flat-B natural and C flat-C natural at measure 149 and E natural-

175
(^1912 Durand S.A. Used by Permission of the Publisher,

E flat at measure 152 provide the most obvious examples. In some
respects, Roussel's practice here anticipates the later codification
of scales of more than the traditional seven tones by Paul Hindemith
in 1937.92
After a repetition of the A and B sections with minor
variations, a transition marked by a heavy leaping bass movement which
enforces a new key, B flat minor, serves as an introduction to the
trio. Just prior to the start of the trio, the key of D flat major
is hinted at in the bass line, while the upper voices maintain greater
allegiance to B flat minor. The trio, too, continues the ambiguity as
to mode. Example 120, which shows the first several measures of the
trio, demonstrates the point: the soprano is moving clearly within
D flat major (see the E flat in measures 202 and 204, the ascending
and then descending figure from the A flat dominant beginning at
measure 206), while the bass at first emphasizes the F natural dominant
of B flat minor, but later, beginning at measure 206, shifts to the
92. Paul Hindemith, The Craft of Musical Composition, 2 vols.

(New York: Associated Music Publishers, 1937), I.
176
Example 120. Op. 16 (first movement), mm. 202-209,
J'ff
f= -a.

relative major (D flat) through its dominant, A flat. Meanwhile, the
pianistically clever tenor counterpoint which appears on the latter
half of the second beat of each measure evolves in a similar pattern,
first outlining the submediant and raised leading tone of B flat
minor before it, too, becomes swept up in the general movement towards
the relative major. The freely moving three-note alto figure of
ascending semitones contributes enough tonal ambiguity to preclude any
definite tonal dominance and thereby helps to maintain the bitonal
balance of the phrase.
The trio contrasts sharply in character with the surrounding
scherzo, whose light, almost flippant quality is replaced by the lum
bering grotesquerie of the trio. Even more interesting is the cyclic
connection of the trio's main theme with the principal theme of the
sonata-allegro (Example 110, above). The metamorphosis of the latter
theme's sustained lyricism into its transformation in the trio is

177
striking. The themes of both the scherzo and trio thus reverse, in
their reincarnation, the two principal themes of the earlier portion
of the movement and complete the familial connection of the movement
as a whole.
A transition in F sharp minor, with movement in the direction
of A major and E major successively, develops portions of preceding
themes as it leads to the second portion of the bipartite trio. The
second theme itself (Example 121), derived loosely from elements of
^ X"1

the introduction to the trio, is in G flat major. This theme reverts
to the lighter character of the scherzo and as such serves as a
transition to the return of the latter.
The scherzo is recapitulated with minor variations as to
voicing, counterpoint and, in one insignificant instance (measure 275),
harmony. The movement is brought to a close with a fascinating coda
(Example 122) based on ideas from the opening theme of the scherzo
178
m i n i
f-J I 'I*
i s i !M h t p m .;/1
7TTT7i"ifTHn lrn l71

(compare, e.g., the first four notes of the coda — measures 300-
301 — with the identical first four notes of the opening theme, shown
in Example 117, measures 118-119) over an ostinato figure low in the
bass clef. The drone is borrowed from the octave figure which had
accompanied the first theme of the scherzo (Example 117, measures
115 ff.), here transposed to the bass and forming the tenth B flat
down to G flat. The staccato eighth note chord progression which the
ostinato accompanies represents many of the harmonic advances which
Roussel seems to have been seeking previously in the Suite. Based
on a relatively straightforward chord progression in G flat major,
the tonality is expanded to include numerous secondary harmonies
(measures 301, 303, etc.) and several peculiarly Rousselian-sounding
chords (e.g., the augmented G flat triad in measure 306 moving to
the E flat major chord in which one of the E flats is raised to E
natural forming the diminished octave in measure 307). In terms of
melodic movement, Roussel's signature is also present in the tritone

179
sequence of measures 304-305, in which a diminished fifth is fol
lowed by an augmented fourth.
Beyond the harmonic considerations, however, the effect of
the coda is one of eerie other-worldliness, a feeling of detachment
from time and place. As such, the ending of the first movement seems
to mark an important evolutionary chapter in Roussel's artistic
growth away from impressionism. The idiomatic use of the piano's
sonority in which a constantly reiterated pianissimo drone seems to
give rise to an ever ascendant series of detached sounds of crystal
line texture is an important new exploitation of the instrument's
capabilities. The remarks noted in Chapter I (page 27) are of partic
ular interest here, for it was Cortot who recognized that Roussel had
made important strides in his ability to write for the piano and that
he had found a pianistic style, with Opus 16, which was suited to
his expressive ends. After the infelicity of some of the writing in
the Suite, especially of the "Prelude" and portions of the "Ronde,"
Roussel seems to have rediscovered the mainstream of French keyboard
writing with the Sonatine: the textures are clear and transparent,
the writing is, for the most part, light and clean, the rhythms of
individual voices are aptly balanced for maximal clarity. Typically,
Roussel has also incorporated the results of previous experimentation,
recycling that which was suited to his more mature vision. For example,
the practice of frequent tempo modification found in Rustiques, Opus 5,
which in that work often undermined the coherence and unity of the
whole, has been reemployed in the Sonatine in a highly refined manner,

180
in which the ebb and flow of tempo indications are perfectly suited
to the material they accompany.
Tres lent - Modere
The second movement of the Sonatine, as noted above,
comprises the two concluding elements of the classical sonata scheme:
a slow movement and a lively rondo. As was the case in the first move
ment, there is a thematic interrelatedness between the two portions.
The slow section ("Tres lent") is through-composed in three distinct
thematic groups, each of which contributes thematic elements to the
following rondo. The rondo itself has a number of unusual features:
the A theme, for example, is presented in three different keys, and
upon each of its reappearances, it undergoes extensive variation in
harmony, figuration, voicing, dynamics and manner of articulation.
The second episode, in addition to fulfilling its classical develop
mental function, also contains its own distinct thematic identity.
Slow Movement:
I II III
1-10 11-16 17-23
B:
Rondo:
A Trans B Retrans A Trans
24-46 47-57 58-75 76-81 82-102 103-121
D: B^-g: G:
181
c Retrans A Trans
122-162 163-165 166-186 187-188
B:
Roussel again employs, as he had in the earlier "Danse au
bord de l'eau" from Rustiques, the quintuple meter 5/8 (see Example
28, page 63, above). Consistently, again as he had in the earlier
work, he balances the irregularity of the three plus two combination
with increased rhythmic movement in the latter portion of the measure
(Example 123). The modal ambiguity of the opening chord, with the flat
Example 123. Sonatine, Op. 16 (second movement), mm. 1-4.
T r o w lent {J s 'Sh )

submediant degree, as well as the cross relationship between the A nat
ural on the third beat and the A sharp on the fourth, is characteristic
of Roussel's expanded language. The opening bichordal combination of
the dominant and minor subdominant may also be analyzed as the dominant
eleventh chord with the flat ninth. A further suspensive effect is
provided by the appoggiatura E natural on the fifth beat of the first
measure, which is then suspended for an additional beat before finally
resolving into the D sharp, thus establishing the major mode. It is,
182
however, not until the augmented German sixth chord on the third
beat of measure four resolving to the dominant that the tonality of
B major is unequivocally established; having done so, Roussel proceeds
in the following phrase to obfuscate the prevailing tonality with
movement in several other directions.
The theme shown in Example 124 will form the basis of the
principal theme of the A section of the rondo. The pianism of this
Example 124. Op. 16 (second movement), mm. 7-10.
Crtft.

theme, and of the entire slow movement as well, demonstrates a subtle
but nonetheless marked advance over the similar "Sicilienne" of the
Suite. Whereas the older work was sometimes clumsily scored and
too widely spaced for maximal clarity and smoothness and posed con
siderable difficulty in maintaining the harmonic integrity of some of
the textures because of their overlapping thickness, the Sonatine is
written in a much more idiomatic pianism which sacrifices none of the

183
richness of the harmonic texture but which permits individual sonor
ities to be clearly delineated. The advance has to do with an ap
parently increased appreciation on Roussel's part of the structure of
the hand as it relates to the keyboard and a sense of balance in
voicing for the instrument.
The independence and directional strength of the tenor
counterpoint in measure ten (Example 124) leads inexorably to the
F natural in measure eleven (Example 125), and accounts for the biting-
ly dissonant beginning of the second theme area of the slow movement.

In addition to the clash of the B minor harmony against the F natural,
further animation is provided by the lively new rhythmic figure ( JH>

which is shared in alternation by the upper and lower voices. The
resolution in measure thirteen of the climactic preceding measures
brings with it as well a significant new figure in the bass of two
rising fourths, the second of which is the augmented fourth tritone.

184
This figure will reappear in the rondo, transformed into two perfect
fourths, to serve as a unifying formal element accompanying the con
clusion of every statement of the principal theme of the A section.
Characteristically, Roussel employs the figure twice in the slow
movement with the tritone which results from the altered submediant.
The third and concluding theme area of the slow movement
(Example 126) bears only a tenuous relationship with material in the
rondo but serves rather as a transition. The second element of the
K ii Aiilmnut

first motive, a triplet sixteenth note figure, serves to increase the
rhythmic motion until, after its second repetition, sufficient momentum
has accrued for a new motive (measure 20), "en animant," to provide
a vehicle into the quicker tempo of the rondo. The new motive also
contains the unifying bass figure of two rising fourths, and Roussel
185
uses the A major triad formed by the concluding C sharp of the figure
as a harmonic transition to the opening key of the rondo, D major.
The principal theme of the rondo's A section (Example 127)
consists of short motives strung together to form a phrase. The first
0 1 9 1 2 Durand S.A. Used by Permission of the Publisher,

motive is derived from the third phrase of the slow movement (measure
seven, Example 124, above) and is written in 5/8 meter as well. Each
measure-length motive is masterfully constructed to counterbalance the
melodic elements contained within: in every case, if the first three-
beat portion rises melodically, the consequent two-beat answer will
balance its antecedent with a downward movement, and vice versa. The
consistent contrary motion of the lower voice gives the bass line a
melodic contour of its own and provides further evidence of a mature
Rousselian texture, one in which the various contrapuntal elements
take the fore over vertical considerations. Contrapuntal priority,
then, is a third reason for the lack of traditional bass movements

186
("fausses basses") in Roussel's music. The first two procedures in
volved the impressionistic "water" figuration of the "Danse au bord
de l'eau" from Rustiques (pages 63-64, above) and the rhythmically
delayed bass line of the first movement of the Sonatine (pages 166-
167). As Roussel's artistic maturity continued to evolve, his natural
contrapuntal thought process led him away from music composed in terms
of concurrent melodic and rhythmic elements which happen to coincide
to form some harmony. Perhaps Roussel's uniqueness in developing a
highly personal harmonic language has more to do with his contrapuntal
procedures than with a conscious effort to expand the tonal vocabulary
per se. The harmony, in other words, seems to arise spontaneously
as a result of the independent directions taken by the various constit
uents of the contrapuntal texture.
After a statement of the two ascending perfect fourths at
the completion of the first theme, Roussel repeats and extends the
figure with some harmonic variation, and then introduces a new theme
in whose second phrase (Example 128) he enhances the playfulness of
the theme itself in a witty interplay between modes. The two-measure
figure, a contrapuntal duet between soprano and bass, is first presented
crttr,
@ 1 9 1 2 Durand S .A. Used by Permission of the Publisher,

187
in the tonic, D major. Following that, the F sharp is altered to
F natural for the flavor of the parallel minor and then a subsequent
repetition, while retaining the F natural, further deviates from the
source by the replacement of E flat for the previous E natural. By
these clever manipulations of key tones, the composer has moved the
tonality from D major to D minor and into B flat major. However, the
final F sharp (measure 46) introduces a characteristic ambiguity as
to the true key, B flat major or G minor. The subsequent transition
reinforces the ambiguity, first by way of an agitated five-note figure
of inventive and expanded harmony (Example 129, measures 47-50) and
then by a graceful, gently rustic motive (measures 51-57) which toys

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with both major and minor modes but finally concludes on a semi
cadence in B flat major.

188
To the interplay between modes, Roussel adds an intensifying
duality to the new theme which constitutes the first episode (Example
130). In it, two contrasting elements comprise the theme: the first,
A a s e z a n lm e (J--f
p dole*

a principally rhythmic proposition (measures 58-59), favors G minor,
while the second, a lyrical, gently agitated and plaintive motive, is
in B flat major. Development of the two thematic elements by figural
and harmonic alteration, extension and intensification is followed
by a retransition which consists of a four-note descending pattern plus
a concluding emphatic chord. The latter, in a progression which ex
tends over six measures in a continually widening keyboard expanse,
gradually and emphatically closes on a semi-cadence on the dominant of
G and is followed immediately by the first return of the A section, in
G major.
The return, as noted above, is far removed from a classical
recapitulation. It is, rather, a variation on the theme (first shown
in Example 127) whose metamorphosis in this first return (Example 131)

189
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f>titer

includes a change of key (to G major from D), a new register and
figuration, changes in harmony and in articulation. The crystalline
delicacy of the texture is underlined by the staccato articulation and
the higher register. As if to compensate for the added lightness of
the first theme, the second thematic element of the A theme is re
capitulated in an almost pompous way with somewhat heavy chords devoid
of the earlier bass counterpoint (Example 132, as compared with Example
128, above).
(5)1912 Durand S.A. Used by Permission of the Publisher,

The transition which had led to the first episode is employed
once more upon the conclusion of the first return. Characteristically,
it is significantly altered ajid now appears as a quick inarch with the
upper voices primarily in thirds over a drone of open fifths in the

190
lower part. The transition breaks off before the second, more lyrical
element of the earlier transition appears and instead employs new
material which leads to a key (and key signature) change to B major,
but not without a continued modal uncertainty for the duration of the
transition.
The second episode is emphatically in the major mode
(Example 133) and is, atypically, curiously devoid of tones foreign to
the traditional key. While the episode is basically developmental in
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character, Roussel has nevertheless created an entirely independent
section out of material both new and old. The first theme, the highly
charged and percussive rhythmic figure shown in Example 133, contrasts
with the lyric gentleness of the second theme, borrowed from the first
episode (Example 130, measures 60-63), but expanded here to include
new developments, such as that shown in Example 134, measures 139-142.
The two ideas continue to alternate throughout the remainder of the
episode, with little development, no new harmonic excursions or variety
of figuration. The rhythmic subdivision of the 5/8 meter at measure
133 and elsewhere, in which the final two beats contain a triplet (a
191
Example 134. Op. 16 (second movement), mm. 133-134; mm. 139-142.
/«i M oupft, t a n i p r t $ $ t r
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^^1912 Durand S.A. Used by Permission of the Publisher,

quicker three) balancing with the first three beats (a slower three),
recalls a similar procedure Roussel had employed more consistently in
"Danse au bord de l'eau" from Rustiques (Example 28, page 63, above,
for example).
Several repetitions of the brusque four-note figure cited
above provide a transition to the second return of the A theme. The
return, in its final reincarnation, appears for the first time in the
home key of the movement, B major. As he had with the first return,
Roussel dresses the final presentation of the A theme in an entirely
new fashion (Example 135). The theme, taking on a more expansive
character, is presented with fuller chordal textures and legato; it
is more widely spaced with considerable amplification in voicing and
dynamics. And as has become the norm with Roussel, the harmony is not
only altered but is in fact transformed, the theme realized from an
entirely new perspective. The variation of the second A theme (shown

192

in Example 128 in the first statement and in Example 132 in the first
return) is the most dramatic change (Example 136). From the witty
playfulness of its first appearance to this final orchestrally ex
pansive version, the theme demonstrates clearly the refined techniques
of Roussel's early maturity in the area of variation by continuous
K a e ln rg la s a n t b en u o o u p ( J ' + Ja4 H )

193
development. In the several successive statements shown in the
example, the harmony and voicing undergo repeated modification: for
example, the clangorousness of the substituted chord fourth (E natural)
in place of the D sharp third of the B major chord in measure 178,
the interplay between E sharp and E natural in the following measure,
and the forceful dignity of the open fourths and fifths in measures
181 and 182. Following that, the first variation, beginning in
measure 183, injects the tritone relationship G natural-C sharp in the
left hand on the third beat by the addition of the flat submediant
(G natural), and, in measure 184, the E sharp in the alto on the third
beat is made to clash pungently with the new bass note, F sharp. The
final version of the figure opens on yet another harmony, an unem
bellished E major triad followed in the latter portion of the measure
by the E minor seventh chord. The passage demonstrates Roussel's
originality and the manifestation of his bold vision in the pursuit
of a personal language, and points up once more his integrity as an
artist seeking and finding his own voice quite apart from prevailing
trends and fashions. Not to overstate the case, but put into
historical perspective, it can be noted that when the Sonatine was
composed and published, in 1912, most French composers were still under
the spell of Debussy, who, at that time, was working on his second
book of Preludes (1913), masterpieces of impressionism. Darius Milhaud
underscored this point in the remark already quoted at the beginning
of this chapter (page 103, above).

194
A two-measure flourish based upon the second A theme figure
just discussed leads to a joyful and lively coda which is in many
ways a microcosm of the elements which have distinguished the music
of Roussel’s early maturity: extraordinarily propulsive rhythms,
further enlivened by strong off-beat accents, angular melodic and
harmonic intervals including frequent leaps of the seventh and the
augmented fifth, and harmonic relationships based on the tritone.
The principal thematic element of the coda (Example 137) is a styliza
tion of the figure previously encountered in the transitions to the

first and second episodes and which is itself derived from the second
A theme (various transformations of this figure can be seen in Examples
128, 129, 132, and 136). In the coda, the figure appears devoid of
counterpoint in unison at the fifteenth and is distinguished by the
augmented triad in the first measure and its resolution in the follow
ing measure. The driving forcefulness of the motive is propelled
by the alternating accents on the fifth and fourth beats of the respec
tive measures. With minimal transition, the phrase is transposed to
E flat. Following a return to B major, the theme is restated an

195
octave higher and then harmonically elaborated in a rising pattern
which culminates on the tonic two octaves higher than it had begun.
In addition, a new counterpoint replaces the unison doubling of
the bass line while the figure touches on the keys of G minor and
F minor. Continually accelerating the tempo, Roussel concludes the
piece on a bright pianistically inspired flourish (Example 138)
which is akin to the percussive principal themes of the two episodes.

In view of the inventive and varied pianism of the con
cluding double movement, and of Roussel's obvious growth in his under
standing of the instrument, Norman Demuth's statement regarding the
Sonatine, "Of what is known as 'pianism' there is none. . .
astonishing. The kinship with the elegant pianism of Faure, already
93. Norman Demuth, "Albert Roussel," Musical Trends in the Twentieth

Century (London: Rockcliff, 1952), repr. ed. (Westport, Connecticut:
Greenwood Press, 1975), 62.
196
noted with respect to the "Sicilienne" from the Suite, is again evident
in the slow movement of the Sonatine. In the intervening time, Roussel
had tempered and refined his musical outlook and, along with it, his
approach to the keyboard had grown as well, to the point where the
light, airy rondo, with its clear, bright textures, its gently grace
ful lyricism and its subtle rhythmically based percussiveness, repre
sents the fruition of Roussel's earlier, rather crude and naive attempt
to write such music in "Champetres" from Des heures passent, Opus 1
(Examples 17 to 23 above, pages 51-55).
Petit Canon Perpetuel (1913)
It is appropriate to conclude a study of the transitional
works from Roussel's early maturity with the Petit Canon Perpetuel,
for with it, Roussel reduced his language to its essence as he pre
pared to enter the final phase of his creative development. In 1913,
the year he composed the Petit Canon, Roussel was enjoying his first
widespread success with the ballet Le Festin de l'araignee, which he
had completed at the end of the previous year. Requests for his works
were steadily increasing and his fame was no longer confined to his
94
native country. At this point in his career, however, three circum
stances coincided to alter the course of his artistic life. First, he
decided to accept a commission from the Paris Opera for a new lyric
work. Padmavatx, the ultimate result, was to dominate all his creative
94. Surchamp, o p . cit., 38.

197
energies for the next several years. Second, the impending hostilities
in Europe, which would culminate in the First World War, 1914-18,
aroused in Roussel a renewed sense of duty to France, and he therefore
sought to be of service for most of the duration of the war, during
which time his compositional activities were at a standstill. Third,
and most important, Roussel was a restless artist; his desire to prune
away that which was peripheral to his vision andthe language he
used to express it was obsessive. Thus, by nature as well as by
circumstance, Roussel was not content to continue writing music in
his previous style. During the entire year of 1913, he published
no music whatsoever; he was still in the planning stages for Padmavati.
The four subsequent years found him absorbed in war and in completing
Padmavati. Thus, as the only work written in 1913, the otherwise
minor production of the Petit Canon Perpetuel takes on an added signi
ficance and perhaps helps to explain the enigma of this piece, which
Roussel did not have published in his lifetime.
The Petit Canon Perpetuel is a mystery for a number of reasons.
It is extraordinarily awkward and unsuitable for the piano. Its widely
spaced or overlapping voices are almost impossible to perform appropri
ately. The performance instructions for the piece direct the performer
to continually repeat the work, transposing it one octave higher each
time until the range of the keyboard is exhausted. As a consequence,
the piece’s practical ending takes place mid-phrase, on the latter half
of a beat, on a second inversion triad with no discernible cadence.
It would not seem unreasonable, therefore, to assume that Roussel did

198
not intend the work to be performed (it was published by his editors
eleven years after his death, in 1948), and that perhaps the Petit
Canon was simply a private contrapuntal exercise or experiment.
One can only conjecture as to Roussel's motives here, but
in any event, the work at hand is a canon at the fifteenth between
the outer parts, with a free inner voice which occasionally expands
to a two-voiced texture. The piece is in two parts, rounded at the
end to lead back to the opening.
Intro A B A' (da capo et perp.)
1-2 3-10 10-21 22-23
a: c: (f:)aV: a:
The two-measure introduction is an accompanimental figure
in the free middle voice. While the A section is in A minor, the intro
ductory figure includes the raised subdominant, which tends to move
the tonality towards E minor. In fact, throughout the A section, the
only non-harmonic tones used are D sharp and B flat, so the basic
tonality undergoes a constant pull from two opposite directions, its
flat and sharp sides. The leading voice, or dux, enters in the upper
voice at the beginning of the measure and is subsequently answered by
the comes, which is stated at the fifteenth below with an altered
metrical structure resulting from its entrance on the third beat of the
measure (Example 139). The middle voice maintains its broken chordal
structure throughout the A section. The canonic imitation is well-
defined and pronounced because of the two-octave distance between the

199
Example 139. Petit Canon Perpetuel, mm. 3-8.

outer voices, as well as the entrance of the comes during a point of
inactivity in the dux. The individuality of the canonic voices is
maintained thereafter by the increased rhythmic activity at measure
five and the distinctive melodic contour at measures six and seven.
The A section closes on a cadence which reverts to the original
tonic, A minor.
The awkwardness of the widely spaced voices in the A
section, even with a redistribution between the hands, precludes a
legato and simultaneously voiced performance. Even greater problems
arise in the B section (Example 140) when the free voice abandons
the broken chord style and becomes a melodically distinct voice in its
200
mp

own right. The overlap between the free voice and the comes on the
first beat of measure eleven, and then the wide separation of voices
on the third beat, are typical of the insensitive pianism. A much
more effective medium for this work would be a wind trio, in which
individual timbres and the independence of each melodic line would
facilitate contrapuntal clarity.
The sudden chromaticism of the B section, which finally
settles more or less into C minor by measure 13, is more typical
of Roussel's expanded tonal language, although he is still capable of
a series of simple triads such as the progression of first inversion
chords in measure 14.

201
The ending of the B section (Example 141), which extends
(at the end of measure 21) into a transition to the return, is probably
otto
d im tn. m otto

the most familiarly Rousselian section of the piece, with its cumula
tively driving rhythmic intensity (measures 19-21), as well as the
clever modulation from A flat minor to A minor between measures 21
and 22.
A point is achieved about midway through the B section during
the second transposed repetition when the upper extension of the key
board is exhausted and the piece must therefore conclude, according
to Roussel's instructions. That point, shown in Example 142, occurs
on the last half of the first beat of measure 17; the following D flat
202
in the upper voice is one semitone higher than the last note of the
keyboard. The concluding "cadence" consists of an F minor ninth
[2nd repetition, 2 octaves higher than written]

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chord in first inversion resolving to a C major second inversion triad,
which is preceded by the A flat suspension in the bass and the accented
lower neighboring tone in the free voice.
The Petit Canon Perpetuel represents a radical departure
from the Suite and the Sonatine which preceded it. The work's
sparseness and its almost conscious impersonality mark unequivocally
Roussel’s embrace of "pure" music, devoid of extramusical associations
or moods, and prefigure the spare, linear approach of his final neo
classic style. The pianism of the Petit Canon is especially disap
pointing following the inventive and original writing of the Sonatine.
Twenty years were to elapse before Roussel again produced works for
the piano with a truly distinctive pianistic voice (i.e., Opus 46 and
Opus 49). To its credit, however, the Petit Canon displays a grace
ful melodicism in its continuous theme, a subtle rhythmic sense and

203
an impressive technical mastery in the counterpoint. Notwithstanding
the difficulties of its realization on the piano, the components
of the free middle voice provide an effective complement to the canonic
parts, giving piquancy to the harmony and continuous flow and variety
to the rhythm.
The works detailed in this chapter, those that trace Roussel's
development into a mature artist with an individual voice, demonstrate
a number of important changes over his earlier Schola-dominated works
and those that were influenced by impressionism. In his desire to com
pose "pure" music, music true to itself, as he said, and separated from
descriptive elements, he abandoned the practice of using picturesque
titles and opted instead for objective titles which describe the work's
form or character. Moreover, Roussel sought to expand upon the most
cogent aspect of his art: the musical language he used to express his
ideas. Thus, as noted, he studied and incorporated into his vocabulary
in a sophisticated way a number of classical Indian modes and rhythmic
procedures. In addition to the harmonic and melodic richness that
resulted from the use of Hindu and Karnatic ragas, Roussel added to
his impressionist harmonic vocabulary his peculiar fascination with
the tritone. More and more, as well, Roussel grew increasingly reliant
on a vigorous rhythmic fiber to propel and energize his music. In
some cases, rhythmic figures actually underlie much of the formal
cohesiveness of a work. Along with this development, Roussel suc
cessfully implemented the Baroque practice of continuous and driving
rhythm, or style continu, either throughout whole pieces or in large

204
sections of individual works. A linear approach to composition, as
could be expected of a professor of counterpoint, while not yet fully
formed, also added distinction to Roussel's work. As Mellers has
observed,
Roussel essentially thinks in polyphonic terms, as is inevi

table if his polymodal conception of line is to attain free
expression. It follows that his music depends much less . . .
on tension between melody and bass: with him all the parts tend
to be of equal significance, and the convention of the 'harmonic'
bass is alien to his idiom.^5
Or, as Landormy has put it succinctly, "Roussel is somewhat like a
Debussy trained in the school of counterpoint."^
Roussel's output during this period with respect to the
piano is uneven, no doubt due at least in part to his experimenta
tion. The successful and original pianism of Rustiques was abandoned
along with his other impressionistic procedures in the Suite, in
which Roussel struggled with a sometimes clumsy, unwieldy idiom in
the "Prelude." He had much greater success with the "Sicilienne"
and especially the "Bourree," but portions of the "Ronde" are again
overwritten and awkward. With the Sonatine, Roussel again found, as
he had in Rustiques, a suitable and consistently applied pianistic
idiom with which to express his ideas. The Sonatine demonstrates
Roussel's great capacity for growth: after the experimental procedures
of the Suite, he was able to incorporate that which was useful to him
95. Mellers, o p . cit., 82.
96. Landormy, op. cit., 513.

205
and to discard what was unsuccessful. With the Petit Canon Perpetuel,
Roussel again entered an experimental phase, and the results are,
temporarily, unfortunate with respect to the piano.

Chapter IV
Survey of the Late Works
The final middle period work of Roussel discussed in the
previous chapter, the Petit Canon Perpetuel, provided a glimpse of
many of the characteristics of Roussel's final period. Those traits
include contrapuntal dominance, both as to form and procedure; an
expanded harmonic language, developed in his middle period work; and
continued allegiance to a tonal center, which expands traditional
harmonic practices through bitonality, bimodality and an amplified
definition of the number of tones within a given key area. Other
traits of Roussel's neo-classic final period include persistent
driving rhythms, developed to a high degree of intensity and dominance
to an extent only hinted at earlier; continuous development, especially
of highly charged and distinct rhythmic figures; and a reversion to
the classical principle of formal balance, including leaner, more
succinct proportions.
Roussel's final period is in fact not a radical departure
from the mature style he had developed in his pre-World War I works,
but represents instead a distillation and refinement of techniques
he had been experimenting with, of the personal language which he had
forged from a unique combination of influences and proclivities. Per
haps overriding all other progressions in his continuing artistic
206
207
maturity was one towards greater economy in the means of expression,
spurred by a personal characteristic of dispassion with respect to
self-criticism.
The final four works for solo piano which Roussel wrote,
two very short pieces in the early stages of his post-war activity and
two somewhat more extended compositions in the latter part of his life,
represent the fruition of his earlier artistic struggles and of his
lifelong pursuit of personal truths achieved through uncompromising
honesty and integrity. The piano was to occupy an even smaller
proportion of Roussel's output in his last period than it had pre
viously, and, as a result, the piano works surveyed in the following
discussion represent only a small sampling of Roussel's last style.
They do, however, show a natural evolution from the earlier piano
compositions, and in their more or less modest garb, are the worthy
offspring of their more experimental antecedents.
Doute (1918-19)
Doute is a short work which was published either in 1918 in
the journal Cahiers d-'Art, ^ or in 1919 in Feuillets d'Art.^^ The
collection in which the piece was originally published, under one or
the other of the above names, has apparently been lost. Cortot, at
the time of his original article on Roussel (1937), as well as in the
later collection of his pieces in which the above article was included
97. Gil-Marchex, op. cit., 81 and Cortot, op. cit., 135.

208
(1948), had not seen Doute, but was relying on Gil-Marchex's descrip
tion. The work received its first independent publication, along
with the Petit Canon Perpetuel, in 1948. Doute is similar in texture
and mood to the Petit Canon, but is remarkably more pianistic (Example
143). It is characterized by an extraordinarily rich chromaticism
Example 143. Doute, mm. 1-5.
Assez lent

which gives the harmony a very broad base indeed, and results as well
in a great number of intense dissonances. Nor has Roussel abandoned
his fondness for unusual melodic intervals, such as the diminished
fourth, the tritone, and the augmented second. But in Doute, these
intervals and harmonies are meshed to a great degree of artistic
solidity and stylistic consistency. The work, just thirty-three meas
ures long, is a highly concentrated rondo (ABACA) which builds inexo
rably to an intense climax capped by the first return of the A theme,
transposed up a semitone (Example 144, starting at measure 15). Doute

209
Example 144. Doute, mm. 15-17.
(g) 1948 Durand S.A. Used by Permission of the Publisher,

is perhaps the first clear example of Roussel's emerging neo-classicism
in its textural clarity, the sparseness of the writing, the continuous
flowing movement of the quasi-ostinato bass line, the persistence in
following a given contrapuntal line to a conclusion, as well as a
mastery in handling the smoothly realized polyphony, which often
includes three or four moving parts. The work concludes with Roussel's
musical signature, a tritone (the augmented fourth C natural-F sharp),
which also leaves unresolved the doubt of the title. One curious
footnote about the work is that the published version contains no
dynamic marks whatsoever, nor has it pedal markings or tempo indica
tions other than the opening "Assez lent."
L'Accueil des Muses (1920)
For a tribute to the memory of Debussy, the journal La
Revue Musicale invited a number of prominent composers, among them the
Frenchmen Dukas, Ravel, Roussel, Satie and Schmitt, as well as Bartok,
de Falla and Stravinsky, to contribute to a "Tombeau de Claude Debussy"
in its December 1920 issue. Roussel's offering, L'accueil des Muses,

210
which was first performed in January 1921, demonstrates the acuity with
which Roussel perceived his work in relation to that of Debussy, for
in it, he has masterfully selected certain of Debussy's traits which
happen to coincide with some of his own, among them the use of sus
pensive, non-functional harmonies, especially chords of the eleventh
and thirteenth, and a dignified solemnity which is reminiscent of
Debussy's "Sarabande" from the suite Pour le piano and the Hommage a
Rameau. The work is an ABA form, and one of the subsidiary themes
of the B section (Example 145) has a kinship with Debussy's early piano
piece Reverie. While it is not a direct quotation, there is an unmis-
Example 145. L'accueil des Muses, mm. 20-22.
rT-fP
sans arpegcr

takable evocation of the earlier work in broad outline. At the same
time, the example shows Roussel's peculiarly acrid harmony in support

211
of the figure: the polytonal quartally constructed harmonies of the
left hand consist of the major seventh from the bass and the augmented
fourth tritone between the two upper voices. While in many respects,
Roussel's tribute is evocative of Debussy, the contrasts with the
latter are perhaps more evident than the similarities: for example,
Roussel's biting, emphatically harsh dissonances, the polytonality,
and the exploitation of the lower register of the piano with thick,
heavy chords. On the other hand, Roussel has blunted the typical
rhythmic vigor which usually characterizes his work and has opted
for a coloristic chordal texture over his usual contrapuntally derived
fabric, procedures which are more typical of Debussy.
The pianism of the work represents another step in Roussel's
final style. The exploitation of the lower register of the piano,
already mentioned, was to play a significant role in Roussel's piano
concerto (1927). And the problem of clarifying polytonal textures
on the piano is also partially solved in L'accueil des Muses by the
use of deep octave basses which can be made to resound for a lengthy
time while upper voices move about in contrasting keys. Example 146,
Example 146. L'accueil des Muses, mm. 1-3.
Tria moili're
TT
212
the opening measures of L* accueil, demonstrates the point: the bass
line is moving in F major, the middle voices of the left hand are in
A flat, while the right hand is in C major.
Prelude et Fugue, Opus 46 (1932-34)
Unfortunately, Roussel abandoned the piano, with the excep
tion of the concerto, for the twelve years following L ’accueil des
Muses. And it was only upon the occasion of another tribute by La
Revue Musicale, to Bach in 1932, that Roussel was moved to turn once
more to the piano. The "Fugue" on the name B.A.C.H. which he contrib
uted appeared in the December 1932 issue and for its subject, Roussel
chose to deviate from the usual ordering of Bach's name by taking the
final interval up a major seventh rather than down a semitone (Example
147), resulting in a bold and invigorating figure. The three-measure
Example 147. Prelude et Fugue, "Fugue," Op. 46, mm. 1-7.
A llegro non tr o p p o (J= 120)

subject itself suffers somewhat from a certain static quality when,
three times in succession, it stops on the dotted quarter at the
beginning of each measure. In subsequent entries, however, movement
in the other parts alleviates the problem. The third measure of the
subject is problematic as well in terms of its implied diatonic har
mony (a simple tonic to dominant progression is implicit) which
contrasts with the more adventurous implications of the two preceding
measures. Throughout the work, Roussel sometimes solves the problem
with some refreshingly bitter counterpoint, and at other times he
abandons that portion of the subject altogether, thereby implicitly
recognizing its weakness.
The counterpoint of the three-voiced "Fugue" represents
enormous advances over the Petit Canon Perpetuel: it is lucid and
transparent, lies well within the hand and is spaced and voiced for
maximal clarity. A wide range of contrapuntal procedures is employed,
but despite the complexity of the treatment through the three exposi
tions, two episodes and a coda (the latter is shown at Example 148),
the vivacious, dynamic propulsiveness of the rhythm never sags. The
division of rhythmic movement among the voices is continually varied
with much masterful juggling between movement and repose.
The harmony, as always in Roussel’s work, has firm tonal
roots, but the expansion of the language, as exemplified by the subject
itself, which easily stretches to include B natural and D flat in a
tonality based on F, continues apace. The polytonality which Roussel
consciously nourished as an enrichment of the harmonic language (see

214
Example 148. Op. 46, "Fugue," mm. 57-63.
Andante (• = 60)
W \fW
ur

the quotation already cited, page 135) is evident in the real answer
(measures 4 through 7, Example 147) in which, successively or in
combination, the tonal areas of A minor, B minor, C minor, F minor,
G major-minor, and even, fleetingly, E phrygian, are hinted at or
outlined. The masterfully controlled stretto of the coda (Example
148), in addition to the contrapuntal technique involved, also demon
strates the ease with which Roussel was able to handle concurrent
and expanded harmonies.
For subsequent publication two years later, in 1934, Roussel
added a "Prelude" to the "Fugue" and assigned the opus number 46 to
the work. The "Prelude" is a highly concentrated but fully developed
sonata-allegro movement containing all the classical elements: two
themes in contrasting keys with transition between them, an exposition
which ends on the dominant, and a highly episodic, thematically

215
fragmented and modulatory development section which sets up tonal
tension as it approaches the tonic for the recapitulation. Bach
himself provided precedents for the use of sonata-allegro movements
in several of his preludes from the Well-Tempered Clavier, including
the E major from Volume I and the F minor and G sharp minor from
Volume 1 1 . ^ Roussel’s "Prelude” may be outlined as follows:
Exposition: Development:
I Trans II (I)
1-9 10-13 14-23 24-33
f: (D^:c:f:A^:) c/C: C: •
Recapitulation: Coda:
I II (II)
34-39 40-47 48-51
f:
The "Prelude," in F minor, represents at its most extroverted
and virile Roussel's neo-classic rhythmic energy brought to a concen
trated level of great intensity. The opening theme (Example 149), in
its alternation between the sixteenth note outbursts and the accented,
percussive eighth note octaves and chords, is quintessential late
99. This observation is corroborated by Hermann Keller, The Well-Tem

pered Clavier by Johann Sebastian Bach (orig. publ. as Das Wohl-
temperierte Klavier, Kassel: Barenreiter-Verlag, 1965), trans.
Leigh Gerdine (New York: Norton, 1976), 80, 165, and 182.
216
Example 149. Op. 46, "Prelude," mm. 1-5.
AJlcgro vivo (« = >**)
^ \±pl
>■ >;__

Roussel. To his earlier predilection for the tritone, the major
seventh, the augmented second and numerous other angular intervals,
Roussel's use of bi- and polytonality is now firmly entrenched and
natural to his expression. With counterpoint and intensely driven
rhythm now the paramount features of his style, individual lines are
free to pursue their own tonal directions and development, forming
astringent combinations in the process. Melodic patterns or figures
are more often horizontal harmonies within a given voice rather than
individual melodies within a calculated harmonic background.
With the Prelude et Fugue, Opus 46, Roussel has settled
into an individual and idiomatic pianism which is dry, percussive,
fluid and energetic. It requires a quickness and sharpness in touch,
as well as muscular economy, to achieve the appropriate sound. There
is little of the cantabile legato style of playing which was a hall
mark of romantic pianism. Both in his music in general, and in the

217
pianistic style in particular, Roussel had by 1934 successfully ex
punged all that remained of romanticism in his work.
Trois Pieces, Opus 49 (1933)
During the intervening year between composition of the
"Fugue" and the "Prelude," 1933, Roussel wrote for the pianist Robert
Casadesus the Trois Pieces, Opus 49, published in 1934. The three
short pieces are models of formal succinctness, lucidity, and modera
tion in expression. The first is a toccata whose first phrases cap
ture the essence of Roussel's late style (Example 150): invigorating
Example 150. Trois Pieces, "Allegro con brio," Op. 49, No. 1,
mm. 1—6.
A l l e g r o eon b rio <J=tas)
>*
s-
mp
w
and percussive rhythm combined with refreshing and clangorous harmony
which easily migrates into bitonality. The kinship with the rhythmic
218
and harmonic vitality of Stravinsky in Petrouchka and other works
is unmistakable. Roussel's use of the tritone, which appears fre
quently in the left hand in the example, has evolved to the point
where it gives character and flavor to the overall texture and, in
combination with the quartal harmonies, demonstrates a uniquely
Rousselian vocabulary.
The pianistic virtuosity required for this piece, together
with that of Opus 46, also marks an evolution for Roussel. In
addition to a brittle, accented style, requiring a sharp, fleet and
short finger technique, demands are made upon a left hand which must
be prepared to negotiate wide octave leaps and rapid scalar and
arpeggiated passages. A sophisticated independence is also called
for in the right hand, which must be able to produce a ringing melodic
tone in the upper voice while maintaining bright, legato, and rhythmi
cally vital supporting passagework in the lower portion of the hand;
the figure in measure six (Example 150), for example, will be exploited
to a great extent later in the piece.
The second of the three pieces is a slow and graceful waltz,
combining wit and irony in an extraordinarily denuded style. The
opening phrase (Example 151) is almost a parody of its nineteenth
century antecedents and its simplicity in means of expression belies
the mastery of its construction. Particular attention can be addressed
to the contrapuntal balance in the motion between the two hands in
measures one and two, in which the voices move first in the same
direction and, upon repetition of the upper voice, in opposite

219
Example 151. "Allegro grazioso," Op. 49, No. 2, mm. 1-4.
A l l e g r o g r a z i o s o (J. = oe) Tempo <u v«iz
^^1934 Durand S.A. Used by Permission of the Publisher,

directions as the left hand counterbalances the movement. The
expansion of the F major tonality to include, in just the first
two measures, B natural, A flat and D flat, is indicative of much
tonal adventurousness throughout these pieces.
The keyboard writing, as well as the music itself, places
Roussel in the French tradition stretching back to the clavecinistes
and including, in the twentieth century, Poulenc and Satie. The
qualities attached to the tradition, including crystalline textures,
charm in phrasing, bittersweet, pungent harmonies, rhythmic subtlety
and sophisticated wit, are captured by Roussel in a sort of reawaken
ing on his part in this final phase of his creative development, when,
secure in his own technical procedures and personality, he has found
a personal way of returning to a tradition that French composers had
abandoned in the nineteenth century. It is ironic that Roussel, who
bridged the gap with the French past, should be a product of the
Schola Cantorum, whose orthodox tenets would have maintained, perhaps
unwittingly, the distance between traditional French ideals and foreign
influences, especially those from Germany and Italy.

220
The final movement of Opus 49 is a scherzo with trio in
which the scherzo is a distilled sonatina form. The writing continues
in the spare style which Roussel had evolved; indeed, the melodic
ideas of the scherzo are more rhythmically inspired than tuneful,
and consist mostly of short distinct figures (Example 152). As if
Example 152. "Allegro con spirito," Op. 49, No. 3, mm. 1-10.
All<*£ro con spirito (#= 120)

to compensate, the trio's themes are sweeter, more emotive. At one
point, Roussel even harmonizes the melody in thirds, a highly unusual
procedure for him; the passage is made acerbic, however, by the
surrounding dissonance (Example 153). The trio is brought to a
shatteringly dramatic climax in a bitterly dissonant passage before
the scherzo is repeated da capo. To the end, Roussel's personal harmonic
idiom continues to be flavored with the tritone, as shown by Example

221
J 3
/ ±
0 1 9 3 4 Durand S.A. Used by Permission of the Publisher,

153 in several left hand chords, and by a remarkable transitional
passage (Example 154) in which both contrapuntal voices are construc
ted with a preponderance of tritones as well as the other unusual
date*
dttntn.

Theodore Presser Company, Sole Representative U.S.A. & Canada,
intervals with which Roussel has long been associated, including the
minor ninths on the second beat of measure 98 (B-C) and on the last
222
third of the third beat of measure 99 (G-A flat), the augmented
fifth in measure 100, fourth beat (A flat-E natural), followed
immediately by the major seventh D natural-C sharp, and the augmented
second formed by the A flat-B natural on the fourth beat of measure
101. The bitonal idiom, apparent in all the above examples, is an
integrated and natural language. Contrapuntal thinking is also
constant as are the traditional techniques of counterpoint: for
example, the recapitulation of the opening theme includes development
by augmentation and diminution and in the trio, the opening supportive
bass counterpoint is inverted to become the principal theme of the
retransition.
The pianism is again, as with Opus 46 and Opus 49, No. 1,
virtuosic in the new sense of digital control in the production of
vital rhythms, including syncopation, the control of a multiplicity
of concurrent distinctive voices and the need for digital economy in
producing sharp, rapid, percussive sounds.

Chapter V
Summary
The original works for solo piano by Albert Roussel which
have been discussed in this study, while a minor portion of his over
all production, nevertheless include representative works from every
period of his creative life. The early and middle period works detailed
in Chapters II and III traced Roussel's artistic development from his
earliest derivative student work through various experimental phases
up to the period just preceding World War I, a period during which his
unique musical personality struggled to gain dominance over external
influences. And despite his relatively scant output for the piano
in his final period, the works surveyed in Chapter IV show the fruition
of the composer's earlier efforts. It has been seen that due to a late
start in music, Roussel's emotional and intellectual maturity preceded
his earliest serious music study. As a consequence, he absorbed vari
ous influences rapidly, but with a certain scientific detachment and
objectivity which allowed him either to accept or discard the many
procedures and styles which were available to him. His entire career
was marked by a dispassionate self-criticism which resulted in constant
experimentation and consistent and dramatic growth from one work to
the next.
In his earliest style, through which he passed very quickly,
he was inevitably influenced by the tenets of the Schola Cantorum,
223
224
a temple of orthodoxy which sought to enshrine the conservative tra
dition of Cesar Franck and what were regarded as the classical prin
ciples. With his solid training in the procedures of the old masters,
taught by Gigout, Roussel had been prepared for the atmosphere of the
Schola, and the piano works which he produced in this period, Des
heures passent and the didactic Conte a la poupee, as well as his
other compositions, more or less follow the ideals of the Schola in
their traditional harmonic basis, their large scale, and their devel
opmental procedures modeled on the German symphonic tradition.
Roussel, however, was an independent thinker, and very soon after
composing his earliest works, he enlarged his vision to include many
aspects of the then-prevalent fashions of impressionism, music as a
subjective description of extramusical experiences. The pianistic
result was his Rustiques (Opus 5), a masterful blend of the musically
pictorial and atmospheric, together with certain early manifestations
of uniquely Rousselian qualities, including a nascent contrapuntalism,
a fascination with the tritone, and a driving rhythmic sense.
As other Europeans had before him, Roussel became fascinated
with eastern music. Unlike most of the others, however, Roussel
sought a deeper understanding of a culture foreign to his, and his
incorporation of much Indian modality into his own vocabulary resulted
in a rich, new personal language which, while borrowing aspects of one
culture for use in another, profaned neither. The Suite (Opus 14), in
a direct way, and the Sonatine (Opus 16), indirectly, bore the fruit of
Roussel's Indian studies. They are characterized by an immensely

225
richer harmonic basis, including bitonality, a continually emerging
and agitated rhythmic energy, frequently angular melodic intervals, a
contrapuntal bias as to the textural edifice, and an obsessive search
for originality in the development and restatement of themes. The
Sonatine as a whole represents a formal synthesis in its economy in
the use of materials and form over the more expansive parameters of
the Suite.
Finally, in his neo-classic stage of development, Roussel
reached a point of synthesis not only of his own early styles, but
also of the external influences which had touched him. Especially in
the period after 1925, when he produced his greatest works, including
the Suite en fa, the third and fourth symphonies, the Concerto for
piano, the ballet Aeneas and his setting of Psalm LXXX. most of which
remain in the active international repertory, Roussel had achieved a
unique personal style which did not lend itself to separate develop
ment on the part of other composers. Accordingly, he had no followers,
although he was widely admired. His last compositions for the piano,
particularly the Prelude et Fugue (Opus 46) and the Trois Pieces
(Opus 49), are representative of the vitality, succinctness and harmonic
and contrapuntal complexity of his brand of neo-classicism. And while
his principal importance lies in the revitalization of French twentieth
century symphonic music, his body of works for the piano remains a
source of generally untapped wealth in an unnecessarily narrowed
performance area that is dominated by Debussy and Ravel, but which
could be considerably enriched by the injection of the cracklingly
fresh and invigorating voice of Albert Roussel.

APPENDIX
by Timothy Minnis
Much of the discussion in Chapters I and III of the
influence of Indian modality upon Roussel's language is predicated
upon an understanding of research previously documented by the author,
but unavailable in a published, accessible form. Accordingly, the
compilation of the data in the form of the research paper which follows,
originally written in 1979, is provided as further background to an
understanding of Roussel's musical development.
226
227
The influence of both northern and southern Indian music
upon every essential aspect of the musical language of Albert Roussel
was fundamental to the development of his mature style: harmonic,
melodic and, to a lesser extent, rhythmic. That Roussel used Hindu
stani (northern) and Karnatic (southern) modes with originality and
integrity has often been commented upon; however, except in very
limited ways which will be discussed below, there does not exist in
the Roussel literature any conscientious attempt to extract from the
composer’s work those specific sources of Indian music which he drew
from, nor to identify them, nor to observe the extent of his fidelity
to the spirit of his eastern sources.
In fact, unlike such ventures into pseudo-oriental exoticism
as Nicolas Rimsky-Korsakov’s Scheherazade and Paul Dukas's La Peri,
Roussel's music written after the time of his 1909-10 journey through
India — including Bombay, Delhi, Agra, Benares, Karjeeling and Madras
— yields a wealth of Indian source material which can be authentica
ted and identified and which show that, far from any superficial imita
tion, Roussel must indeed have acquainted himself with a wide range of
Hindustani and Karnatic ragas, the literal transmutation of which is
principally demonstrable in three important works: the Suite for
piano (Opus 14), completed in 1910; Evocations (Opus 15), a three-
movement suite for orchestra, completed in 1911; and Padmavati (Opus
18), an opera-ballet, begun in 1914 and, owing to the delay caused
by the First World War, not completed until 1918.^ The results of
228
a study of these works with respect to the extraction of Indian modal
borrowings are presented below.
Work previously done in this area is limited. Among the
earliest critics, and certainly among the most prescient observers
to note Albert Roussel's style and the character of his harmonic lan
guage is Nadia Boulanger, who, over fifty years ago, in a special num
ber of La Revue Musicale devoted exclusively to the composer, succinctly
summarized those traits of Roussel's style which make his oeuvre unique.
Some of the features she noted are:
-Modifications of tetrachords altering the scale and forming

new harmonies.
-Polymodality . . .
-Predominance of certain intervals (augmented fourth, major

seventh, minor ninth).
-Frequent use of chords of the 11th and 13th; statements of

the major seventh between the ninth and the fundamental; of
the minor ninth between the third and the eleventh. . . .^
Surprisingly, for so analytical an observer as Boulanger, only a pass
ing mention of the Hindu influence on Roussel is noted, despite the
fact that she is one of the few observers to analyze the music in any
detail.
1. Dates of compositions are based upon the following publication:

Catalogue de l'CEuvre d'Albert Roussel (Paris/Brussels: Editor,
1947), 17-18.
2. Nadia Boulanger, "L'CEuvre theatrale d'Albert Roussel," La Revue

229
And while Claude Delvincourt painted a picture of Roussel
in the year of the latter*s death as an instinctive innocent, whose
"genius is essentially intuitive" and who "has always found esthetic
theories repugnant. He doesn't analyze. . others have at least
credited Roussel with something more than instinct. Vincent d'lndy,
one of his teachers, appointed Roussel professor of counterpoint at
the Schola Cantorum and there he presumably passed on more than his
instinct to such a diverse array of students as Bohuslav Martinu,
Erik Satie and Edgar Varese. With respect to his supposed failure to
analyze his work, it was apparently the inability of musical commenta
tors to understand his work which prevented any real understanding of
his vocabulary, and when Arthur Hoeree, apparently almost alone among
the critical musical establishment of post-World War I France, under
took a penetrating analysis of Roussel's language,^* the composer wrote:
Your article . . . has given me great pleasure, for up to the

present it has seemed that, so far as the critics were con
cerned, my music could not be analysed and was founded on an
absolutely arbitrary empiricism. But I had excellent reasons
for believing the contrary. The study you have made of it will
help to correct the misunderstanding. . . .5
3. Claude Delvincourt, "Le langage harmonique d'Albert Roussel," La

Revue Musicale XVIII/Numero special (Nov. 1937), 320 [author's
translation].
4. Arthur Hoeree, "La Technique," La Revue Musicale X/Numero special

(Apr. 1929), 84-103.
5. Albert Roussel, cited by Arthur Hoeree, Albert Roussel (Paris:

Rieder, 1938), 87; also cited by Basil Deane, Albert Roussel
(London: Barrie & Rockcliff, 1961), 27.
230
Other commentators, both before and after the death of
Roussel, have observed, with Boulanger, the peculiar characteristics
of Roussel's music without, however, seeking the sources of his style
beyond vague references to the influence of impressionism and scholist
orthodoxy. Edward Burlingame Hill, for example, very early on noted
that "the vividness of this music fPadmavati] partially owes its force
to the Hindu melodies for which Roussel has always devised an original
harmonic support,"^ and Robert Bernard, in his monograph on the com
poser, notes "the frequent use of successions of fourths which he
prefers to the third, the usual consonance of the classics, to the
fifth favored by Ravel, or to the sixth which w a s the delight of
Brahms or Richard Strauss; or the repeated use of generally unutilized
intervals in melodies: the augmented fourth, the major seventh, the
minor ninth, etc."^ Robert Bernard came closer to a clear statement
on the sources of Roussel's harmonic and melodic origins when he stated:
Roussel's melodic invention . . . is evidently difficult, if

not impossible, to be perceived by an ear which has neither
the knowledge nor, at least, the instinct about the modes on
which it is based. His harmonic language cannot be understood
if one doesn't acknowledge, either intellectually or sensori-
ally, the notes which compose the chords and which, themselves,
are borrowed from the scale of a given mode.®
6 . Edward Burlingame Hill, Modern French Music (Boston: Houghton Miff

lin, [1924]), repr. ed. (Westport, Ct.: Greenwood, 1970), 325.
7. Robert Bernard, Albert Roussel (Paris: La Colombe, 1948), 75

8 . Ibid., 72 [author's translation].

231
He fails to follow through on this observation, however, by not dis
cussing the types and specific varieties of inodes Roussel did indeed
use.
Paul Collaer, when he states that Roussel's melodies are
"rather ambiguous from a tonal point of view, and digress into chro
matics and modulations,"^ quite missed the point inasmuch as tonality
was not necessarily an entity to be adhered to in the early twentieth
century and, although chromatics and modulations truly are digressions,
the pejorative sense implied here must be challenged. Collaer does
recognize to some extent the importance of Roussel's travels in the
Orient and the attention he paid to Hindu modes, but fails, I think,
to recognize their fundamental importance in Roussel's music, apart
from a vague exoticism.
Dorn Angelico Surchamp, a later Roussel biographer, very near
ly states the case by noting that
This enchanted trip [to the Orient in 1909] will be the direct
source of two major works of Roussel: the Evocations and
Padmavatr. But, beyond these scores, it is the complete w o r k ^
of the musician which is marked by certain Hindu scales. . .
While he recognized the central significance of the modes on Roussel's
whole oeuvre, Surchamp incorrectly implies that the composer contin
ued to make regular direct use of them after this period, an observation
9. Paul Collaer, A History of Modern Music, trans. Sally Abeles (Cleve

land and New York: World, 1961), 199.
10. Dom Angelico Surchamp, Albert Roussel: L'homme et son oeuvre

(Paris: Editions Seghers, 1967), 34 [author's translation].
232
which furthermore fails to recognize how Roussel developed an inde
pendent language which included many of the characteristics of the
Indian vocabulary he had learned.
Marc Pincherle, in his largely derivative study of Roussel,^"
refers his readers to the excellent but limited work of Hoeree and
Boulanger for analysis. With respect to the influence of Indian
music, Pincherle commits himself to no more than the observation:

12
"Roussel has taken a lively interest in Hindu modes and rhythms."
Norman Demuth saw in Roussel's use of Indian music the means
by which he transcended impressionism:
The mainstay of the music fi.e.» Evocations and Padmavatl] must

of necessity be that of a European visuality. It is, however,
by the use of the Hindu scales that Roussel succeeds in giving
distinction to the work and moving it outside the borders of
sheer French impressionism.^
Basil Deane takes the view that Roussel's predilection, prior
to his travels to India, for an exoticism which had already expressed
itself in his avoidance of harmonic conventionality, became, under the
influence of Hindu modality, an original language:
The modal variety of oriental scales undoubtedly encouraged

him to apply to his own music . . . freedom of chromatic al
teration. . . . In . . . Padmavatl, Roussel . . . carried still
11. Marc Pincherle, Albert Roussel (Geneva: Editions Rene Kister,

1957), 78.
12. Ibid., 76 [author's translation].
13. Norman Demuth, Albert Roussel: A Study (London: United Music

Publ., [1947]), 50.
233
further his melodic and harmonic chromaticism. The resultant

rugged angularity of harmony and melody combines with an in
creased rhythmic energy to form a highly individual style,
at once complex and elliptic, harsh and powerful.^
That Roussel's use of eastern modal music went beyond mere
imitation is emphasized by Martin Cooper, who stated that
Roussel's music . . . stands almost alone in Western music

for the authenticity of its orientalism. He makes use of Indian
scales, or ragas, and his melodies are often ornamented with
the melismas typical of oriental music; but his music never
gives the impression of being a pastiche or imitation of the
Indian original. Still less does it recall that of the nine
teenth-century French operas, where the oriental element is no
more integral than the stage sets. Roussel's secret seems to
have been that of all those who aim, in Falla’s words, at
"authenticity without literalism" in their treatment of tra
ditional music — an ability to use that tradition for their
own purposes, to create a parallel, similar effect to that
of authentic folk-music.
The point which I think needs emphasis is that Roussel's
maturity — the style and harmonic language which was to be unique
with him — was reached as a result of the overwhelming effect upon
him of Indian modes which, when combined with the language of his time,
the chromaticism of Wagner and his influence upon early twentieth cen
tury French music, the expanded chordal language of impressionism to
gether with its dissolution of tonal function, proved the catalyst in
the subtle alchemy which yields a new language. It is left to Wilfrid
Mellers to state unequivocally, finally, that "Eastern scales and
14. Deane, op. cit., 30.
15. Martin Cooper, French Music from the death of Berlioz to the
death of Faure (London: Oxford University Press, 1951), 174.
234
rhythms have been assimilated into the Roussel idiom, becoming as much
French as oriental. . . . He had added a language to the history of
music, a language of powerful austerity and ardent lyricism." 16 Mel-
lers was referring to Padmavatx, but he then develops the thesis, in
view of Roussel’s life work as a whole, to its logical conclusion:
. . . he had learned from oriental music the direction which

his melodic thinking was to take. The language he evolved
. . . remained his musical speech for the rest of his career.
He modified and simplified it; but it remained substantially
the same . ^ [emphasis added]
In view of the importance attached to Roussel's connection
with Indian music, it would seem useful to study the works in which
that connection was first manifested, with the intention of coming to
an understanding of the Indian sources, as well as to note the manner
in which Roussel incorporated them into his work. The method employed
in this pursuit included the extraction of scalar material based on an
analysis of the works selected for study. After ascertaining the
"tonic" of the extracted scales, a determination as to whether the ex
tract was indeed based on an existing Indian mode was made, and if so,
by what name it was known in either the Hindu or Karnatic traditions
(or both), what the traditional character or mood associated with it
was, which particular melodic patterns it employed, and what its prin
cipal dominant or stressed tones were. Finally, then, the raga thereby
16. Wilfrid Mellers, "Albert Roussel and 'La Musique Frangaise',"

(Scrutiny, 1938), repr. rev. in Studies in Contemporary Music
(London: D. Dobson, 1947), 79.
17. Ibid., 84.

235
determined was compared to the context in which Roussel had incor
porated it into his work.
Suite, Opus 14
Prelude
Sicilienne
Bourree
Ronde
The Suite for piano seems to have been overlooked by past
commentators with respect to Roussel's use of oriental sources, perhaps
understandably inasmuch as the peculiar flavor of the Indian music is
masked to a greater extent in this work than in others of this period.
For example, the flatted second degree of the key in the introduction
to the "Prelude" (Example 1) would at first appear to be a momentary
accidental. The figure thus formed, however, develops into a constant-
Example 1. Suite, "Prelude," Op. 14, No. 1, mm. 1-4.
Tren lent J c S3
J)p tomi re
ly reiterated pattern which accompanies both the initial theme of the
"Prelude" as well as the subordinate contrasting theme. The scale
thus extracted from this figure, which undergoes numerous modulations,
almost all of which retain the same intervallic relationships as the
opening, is shown in Example 2 (mela raga Suryakanta) . (All scale

236
Example 2. Mela raga Suryakanta.
examples are first shown in the key in which they appear in context
and then are shown transposed to begin on C for ease of comparison.)
Because of the unchanging accompanimental, rather than melodic, nature
of this figure, it is not possible to determine which secondary varia
tion (i.e., .janya raga) of the principle tonal material (mela) this
piece employs. The mela in Karnatic music, similar to the Hindu thata,
is, according to The Sagas of South India by Walter Kaufmann, "a plain
seven-tone scale, representing the tone material of a group of subor
dinate janya ragas. The mela serves as an impersonal headline, without

18
strong and weak notes, without any embellishments. . . ." The mela
- - - 19
Roussel uses here is the raga Suryakanta.
Parenthetically, two additional points may be noted here:
first, the tritones, pointed out as a typical feature of the Roussel
style by both Boulanger and Surchamp (as noted previously), which are
outlined by the accompanimental figure shown in Example 2; and second,
the extensive use throughout the piece of the C sharp pedal, which can
be seen as analagous with the traditional drone accompaniment of a raga.
18. Walter Kaufmann, The Ragas of South India: A Catalogue of Scalar

Material (Bloomington, Indiana: Indiana University Press, 1976),
xvi.
19. Ibid., 84.

237
While it lies outside the scope of the present study to
consider the rhythmic influences of Indian music on Roussel, the
"Sicilienne" of the Suite, in its unbroken alternation of two beats
and four (6/8-12/8 time signature) certainly suggests the Karnatic
rhythmic pattern ftupaka tala which, as demonstrated by Herbert Popley

20
(Example 3), corresponds to the rhythmic and metrical shape of
Example 3. Rupaka tala.
x x '
1 2 / 3 4 5 6
x indicates a clap; 1 counting with fingers; ~ a wave,

in descending order of emphasis.
Roussel's phrase (Example 4).
Example 4. Suite, "Sicilienne," Op. 14, No. 2, m. 1.
. . u-Tfl< --- - -----
H lrT
p 1— £ J i— i—
r X • ' J S J ' P U J T X J L 2 Z L L i__
i P-*
P— r- --H f-----f f - ..-p=^
-b J L T *i \ i " v \
Similarly, the introduction to the "Bourree," which, in any
event, departs from the usual rhythm of that form in that it lacks an
upbeat and is written in triple meter, fleetingly suggests the Karnatic

21 22
pattern Ata tala (subtype Khandra) shown by both Popley and Day as
20. Herbert A. Popley, The Music of India (Calcutta: Association Press;

London: Oxford, 1921), 78.
238
5, 5, 2, 2. Example 5 demonstrates this scheme in the opening four
teen measures of the "Bourree." It may be suggested that, if this
Example 5. Suite, "Bourree," Op. 14, No. 3, mm. 1-14.
riA.so
M.
rhythm is in fact inspired by At a tala, Roussel merely wished to estab
lish some connection, but inasmuch as the pattern is not repeated in
the "Bourree" proper, it cannot be considered a clearly established tlla.
With the exception of a few measures which could suggest the

— — — — — 23
use of mela Harikambho.j i, iany a raga Kambho ii (e.g., measures 208-210
21. Ibid., 75.
22. C. R. Day, The Music and Musical Instruments of Southern India and
the Deccan (Delhi, 1891), repr. ed. with new introduction (Delhi:
B. R. Publishing Corp., 1977), 36.
23. Kaufmann, op. eit., 351.

239
214-216), which seems unlikely, the "Bourree" contains no direct
Indian melodic sources.
The "Ronde," on the other hand, contains two clearly deriv
ative themes based on Indian modes, a fact which dramatically illus
trates the immediate impact of Roussel's travels on his musical
vocabulary, for, as Gil-Marchex noted, "Between the composition of
the 'Sicilienne' (September 1909) and of the 'Ronde' (April 1910) A.
Roussel undertook . . . a trip to India, Cochin China [Vietnam] and

0J
Cambodia."
The principal theme of the "Ronde," shown at Example 6, in
its purposeful exclusion of the fourth and seventh degrees of the key,
25
outlines the Hindu raga Bhupali, which is shown by Example 7. As
Example 6. Suite, "Ronde," Op. 14, No. 4, mm. 1-10.
j, > r;
~Trf\ j . > i C T - i i m L u i g
%^-rm rrn-r~~r-i^
A S^ ~ \ 1
240
26
Kaufmann points out in The Ragas of North India, the prominent tones
of this raga are the third and the sixth steps above the first (cor
responding to A sharp and D sharp in Example 6), with either one of
which melodies or phrases usually end. Note the importance of A
sharp in the fourth to the seventh measures of Example 6, as well as
its final D sharp.
The theme of the first episode of the "Ronde" is shown in
Example 8. Its ambiguous tonal center, which could reasonably be
Example 8. Suite, "Ronde,", Op. 4, No. 4, mm. 27-34.
supposed to fall either on F sharp, C sharp or D sharp, is most likely
24. Henri Gil-Marchex, "La Musique de Piano d'Albert Roussel," La Revue

25. Walter Kaufmann, The Ragas of North India (Bloomington, Ind.:

Indiana University Press, 1968), 66-67.
26. Ibid.
27. The accompanying harmony does not usually aid in the determination
of the Indian "tonic" in Roussel's music because in his emphatical
ly contrapuntal style, each line is often pursuing a different
tonal or modal center.
241
F sharp with a stressing of the note D sharp, which would put it
into the Karnatic mela raga Mechakalyani^ (Example 9). That the
• •
Example 9. Karnatic mela raga Mechakalyani.
° 1-o- p o~4 f ™ ° 0 0 > ,.l
character of this mela raga is, according to E. E. White, one of "mer-

29
riment" also fits Roussel's context ("vif et leger") . Inasmuch as
Roussel develops the harmony freely very soon after the statement of
the theme, the janya raga within the mela cannot be further deter
mined. In fact, as far as tone material is concerned, the raga could
as easily be the analagous raga Kalyan of Hindu practice, were that
raga not historically associated with the bravado of battle (". . . he

30
rushes into battle dressed in gold.'1 ), which in more recent times
has taken on a soothing character. 31
Evocations, Opus 15
I. Les Dieux dans 1'ombre des Cavernes

II. La Ville Rose
III. Aux Bords du Fleuve Sacre
28. Kaufmann, RSI, 650-52.
29. Emmons E. White, Appreciating India's Music: An Introduction,

with an emphasis on the Music of South India (Boston: Crescendo,
1971), 74-75.
30. Krishnananda Vyas, Sangita-Raga-Kalpadruma (Calcutta, 1916), 32,

cited in Alain Danielou, Inde du Nord (Berlin: Buchet/Chastel,
1966), 62 [author's translation].
31. Kaufmann, RNI, 62.

242
Roussel began work on Evocations in 1910 upon completion
of the Suite. He lost no time in establishing the Indian musical
connection: beginning at measure 15 of "Les Dieux dan l'ombre des
Cavernes," the oboe solo (Example 10) outlines the Hindu raga
Dhanashri, a subsidiary raga within the tonal area known as Kafi
Example 10. Evocations, "Les Dieux dans l'ombre des Cavernes," Op. 15,
No. 1, pp. 6-7, oboe.
Tffis +
b
lj> 4 t r b r qi fJ v y f T IT ^ ( J T r P ( i D 1 1y
32
thata (it will be remembered that a thata in Hindu music corresponds
to the Karnatic mela, or family of tones). Example 11 shows the tonal
Example 11. Hindu raga Dhanashri.
= y. ' 1 - k c r-P
i !
material of raga Dhanashri, which originally represented grief over

33
an absent lover, corresponding to Roussel's mournful tune ("tres
lent") . The composer also helped in establishing the "tonic" by
providing supporting drone-like harmony based on F. Later in the
piece, in the development, the theme appears transposed down a step
in the oboe and clarinet parts. The tempo of the movement prior to
32. Kaufmann, RNI, 365-67.
33. Ibid.
243
this appearance had accelerated considerably ("tres anime"), and while
Roussel slowed it down somewhat ("moins vite") , the mood of the raga-
based theme had changed to a lighter one. This inconsistency is at
first difficult to reconcile until, as Kaufmann points out, it is
noted that this raga underwent a change in concept to the point where,
in more modern times, it "is considered to represent a light cheerful

i.34
mood. The theme makes one further appearance, in the violins begin
ning on page thirty-seven of the score.
The first movement of Evocations contains one other raga-
based theme, which extends from measure 43 to measure 58 in the contra
bass part. Part of this theme is shown in Example 12. It is based
Example 12. Evocations, "Les Dieux dans l'ombre des Cavernes," Op. 15,
No. 1, pp. 15-16, contrabass.
— — — * 35
on the Karnatic mela raga Dhenuka shown in Example 13. The tradi
tional stressed notes of this raga are E flat and B; insofar as Roussel
Example 13. Karnatic mlla raga Dhenuka.
b-
34. Ibid. 35. Kaufmann, RSI, 75.

244
stresses the note G, he does not strictly comply with the spirit of
the raga. The emphatically reiterated augmented fourth between D flat
and G in this theme is one of the Rousselian characteristics especial
ly noted by Boulanger, Surchamp, e_t aJL., as mentioned previously, and
which further points up the Indian influence on external characteris
tics of Roussel's music.
In "La Ville Rose," the second movement of Evocations, the

— — *3^
Karnatic mela raga Natakapriya (shown in Example 14) is the basis
• •
for the theme assigned to the flute and english horn in unison (Example
37
15), beginning on page thirty-six of the score. Throughout the
Example 14. Karnatic mela raga Natakapriya.
Example 15. Evocations, "La Ville Rose," Op. 15, No. 2, pp. 36-37,
flute and english horn.
>
statement of this theme, the cellos provide a continuous drone-like
36. Ibid., 83.
37. Durand published each movement of Evocations separately, so the

pagination begins anew with each number of this opus. For a guide
to editions used in this study, see Bibliography.
245
undercurrent of F sharp-A natural in half-measure note values. The
prevailing mood of the movement is "tres anime" with the exception of
this theme, which alone is marked "tres lent." Such a character fits
the traditional performance time (at night) of this raga.
The subordinate theme of "La Ville Rose" (Example 16)
begins on page seven of the score. Its emphasis upon the notes B (see
the syncopated figure in measure two of the example), E and G (upon
which the theme is based) exactly cointides with the stressed notes of
38
the Hindu raga Bhupali shown at Example 17. (As discussed above,
Example 16. Evocations, "La Ville Rose," Op. 15, No. 2, pp. 7-9,
violin I.
X --
c.
Roussel used this raga similarly in the "Ronde" of the Suite.) Roussel
does not observe the traditional dignified character of raga Bhupali
in his highly animated theme.
38. Kaufmann, RNI, 66-67.

246
"Aux Bords du Fleuve Sacre," the third movement of Evocations,
does not definitively yield any directly Indian-based themes. However,
the preponderance of characteristic Indian modal motives (e.g. the
many augmented and diminished intervals) leads one to think of Hoeree's
observation on another Roussel composition that " . . . many of the
fragments not connected directly to a particular Hindu mode, clearly
suggest it by the alterations, the insistence on certain scale degrees

39
and the almost improvisatory oriental declamation." This is clearly
the case in "Aux Bords du Fleuve Sacre."
Padmavati, Opus 18
Opera-Ballet in Two Acts
The first appearance of an Indian-based theme in Padmavati^
is the proclamation of the character Gora, beginning on page thirteen
of the score and shown in Example 18. The tone material extracted
from this theme is the Hindu thata raga Purvi (Example 19), whose prin-
41
cipal stressed notes are E and B, a practice which Roussel followed
by ending most of the phrases on E, including the final one, and by
using B as an ending in the penultimate phrase of the proclamation.
Riga Purvi is characterized as "deeply serious, quiet and somewhat

42
mysterious," which exactly corresponds to Roussel's use of it here.
39. Hoeree, "La Technique," 89 [author's translation],
40. For a thematic and dramatic analysis of this work, the reader is
referred to Nadia Boulanger's article previously cited.
41. Kaufmann, RNI, 277. 42. Ibid.

247
Example 18. Padmavati, Op. 18, pp. 13-15, Gora.
M . .{ A I1n f c f r If f t |bf f f | T T r \y. t . r*f.
Example 19. Hindu thata raga Purvi.
It should be noted that in Danielou1s study of north Indian
music, he identifies the tone material of raga Purvi as raga Shrl, ^
which is in fact a subsidiary raga of thata Purvi and which contains
similar tone material but with different functions. Compounding the
apparent error, Danielou represents raga Purvi*s tone material as
consisting of an A natural instead of A f l a t . ^
The next raga-based theme, that of the Mogol warriors (score,
pages 26-27), is extraordinarily complex to classify unless one can
assume that Roussel used the material within a family (thata) of ragas,
43. Danielou, op. cit.. 46. 44. Ibid., 61.

248
freely borrowing peculiarities from one or another riga within the
thata. The basic tone material is shown in Example 20, which repre
sents the Hindu thata raga Bhairav. ^ The theme from which it was
extracted (Example 21), however, shows the presence of some notes
Example 20. Hindu thata raga Bhairav.
£
*
Example 21. Padmavati, Op. 18, pp. 26-27, theme of the Mogols.
g^ jyp7]|j
, m i .
foreign to the raga (e.g., B flat, measure four of the example, preced
ing an A natural in measure five; F sharp in measure nine). These can
be explained by noting that, first, in the riga Gunkari (a subsidiary
raga within the thata Bhairav), B flat is often a notated appoggiatura

46
preceding an expected vibrato on A flat. Given the difficulty of
exact pitch equivalence in western music to the often microtonal inflec
tions of Indian music, especially in the execution of a vibrato,
45. Kaufmann, RNI, 233-37. 46. Ibid., 240.

249
Roussel's use of a B flat appoggiatura preceding a trill on A natural
can perhaps be reconciled in view of the fact that in both instances
where this happens, the A flat is immediately reinstated after the
conclusion of the trill. Second, within the subsidiary raga Ramkali
(which also belongs to the Bhairav thata of Example 20), there exist
four subtypes, the most frequent of which includes a variation in
which F sharp is used in proximity to G , ^ which is clearly the
case in the Roussel theme.
Certainly the character associated with the family of Bhairav
ragas — awesome grandeur, horror, freight — is appropriately used
in this instance by Roussel to represent the fierce Mogol warriors.
Singing at length of the beauty of Padmavati, the Brahmane's
aria (Example 22; score, pages 87ff.) is one of the few examples where
Example 22. Padmavati, Op. 18, p. 87, Brahmane.
*•
250
melody and accompaniment share the same mode, the Karnatic mela raga
Gangeyabhusani^ (Example 23). This is perhaps the most extended
consistent use of one raga in Padmavati, lasting for fifty-six meas
ures without a single note foreign to the raga in either melody or
accompaniment.
Example 23. Karnatic mela raga Gangeyabhusani.

• •
-b --- „ _ l t n JkEO* L t-----------
Immediately following the Brahmane's aria, Nakamti sings
of Padmavati as well, using tones from the Hindu raga Dhanashri (as
used previously by Roussel in the first movement of Evocations; see
Examples 10 and 11). Nakamti's theme, shown in Example 24 (score,
Example 24. Padmavati, Op. 18, pp. 91-92, Nakamti.
pages 91ff.), more or less follows the Hindu practice of avoiding the
49
second and sixth steps in the ascending pattern (Example 25) by
avoiding F and C, with the exception of the first note of each phrase
47. Ibid., 243-44. 48. Kaufmann, RSI, 460.
49. Kaufmann, RNI, 367.

251
Example 25. Hindu raga Dhanashri (ascending and descending forms).
where F is the first note of an ascending figure (measures one and
three of Example 24 ) , although not a stepwise one. The text of this
excerpt develops the idea of Padmavati's beauty, together with an
undercurrent of tragedy in that her husband has promised her to the
leader of the Mogols, an invocation by Roussel of the older sense of
this raga, which has been pictorially depicted in Hindu folklore as
follows: "We cannot but sympathise with solitary grief in a beauti
ful female. . . . The misfortunes . . . proceed from the absence of
her lover, and that she has languished is evident.
Later in the score, the thata raga Bhairav (Example 20, above)
is used again (see theme of the Mogol warriors, Example 21), this time
the "horror and fright" of its character tempered by a further Bhairav
characteristic, "melancholy and even tender adoration."'*'*' The appro
priateness of this raga is apparent: Padmavati here sings of her
desire for death (Example 26). The tones belonging to this raga begin
at her words, "0 dieux . . . ." Notice the characteristic melisma on
the word "mort." The accompaniment is almost completely restricted
to the tones of the raga.
50. Ibid., 365.
51. Ibid., 233-34.

252
Example 26. Padmavati, Op. 18, pp. 127-28, Padmavati.
m
(_____ O
i
tim, jf n’fci H* me 9 c \ fa--
At-cor-4‘1-- flo-Ul |*u mor+
•j* K-J ^ 1 - - - I
Vi 1f c o ' W r i t O M ffti L t n a Z - 4 r e «■* •>* fcj? j ^ >
The theme representing "amour," in the orchestra beginning
on page 147 and shown at Example 27, is based on the Karnatic mela
— — 52
raga Suryakanta (Example 28).
Example 27. Padmavati, Op. 18, pp. -147-48, amour theme.
Example 28. Karnatic mela raga Suryakanta.
Closely related to the "amour" theme is that for "noces,"
shown at Example 29 (score, page 164), also based on the mela raga
Suryakanta, transposed up a fifth from that of the "amour" theme.
52. Kaufmann, RSI, 181.

253
Example 29. Padmavati, Op. 18, p. 164, noces theme.
The symbolic relationship between Padmavati's murder of her
husband and suicide and their former love and marriage is musically
connected by Roussel in his use again of the mila raga Suryakanta
to express the theme of the funeral ceremony, shown at Example 30
(score, page 190). The theme is accompanied in drone fashion by its
Example 30. Padmavati, Op. 18, pp. 190-191, ceremonie funebre theme,
"tonic" (C). As if to underscore the connection with the previous love
and marriage themes, Roussel introduces the funeral ceremony music with
a veiled reference to the "amour" theme on its original tonic (E).
This introduction is shown in Example 31. The funeral theme is devel
oped at length by both chorus and orchestra throughout the ceremony
which closes the work.
Example 31. Padmavati, Op. 18, p. 190.

254
After Padmavati, Roussel's use of Indian raga material as a
direct means of expression was limited. Basil Deane points to at
least two examples in the later works, both dating from 1924: the
beginning of the Deuxieme Sonate pour Violon et Piano (Opus 28) and
53
the third movement of Joueurs de Flute (Krishna) (Opus 27). The
Hindu thata raga Purvi (Example 19) provides the basis for both works.
Arthur Hoeree's 1929 study, in part a brief attempt to analyze the
Hindu influence on Roussel, without, however, any effort to identify
or classify the sources, was, by necessity, based on the limited
awareness of Indian music in the west at that time and consequently
contains several errors. In view of the recognition by many writers
of the importance of these sources on Roussel's mature style, it
seems curious that no one has corrected or amplified Hoeree's pio
neering work. As Hoeree himself stated, with respect to the works
up to 1929, although it applies as well to the then as yet unwritten
works of Roussel:
The analysis of modes in Roussel's work could be carried

very much further [than he had done in his article]; but it is
especially important to establish the modal spirit of his
music. This spirit directly influences the Rousselian melody
whose undulous shape, great leaps (of the sixth and the seventh),
displaced accents, chromaticism, constant modulations and its
corollary: tonal instability, belong to him a l o n e . ^4
In any event, it must be left to another study to demonstrate the often
observed influence of Indian modes upon Roussel's ultimate harmonic
language.
53. Deane, op. cit., 108. 54. Hoeree, "La Technique," 90-91.
It has been shown here that Roussel drew upon many sources
of Hindu and Karnatic music and that he incorporated these modes
into his compositions with sophistication and integrity to their
spirit. Naturally, in borrowing the art of one culture for use
within another, compromises must be made in which both relinquish
certain individual traits. Such cross-fertilization, however, at
least in the music of Albert Roussel, yielded a fascinating new
perspective on both.
LIST OF REFERENCES
I. Mus ic
Roussel, Albert. "Aux Bords du Fleuve Sacre," Evocations, Op. 15,

No. 3. Paris: A. Durand & Fils, 1912.
______ . "Les Dieux dans l ’ombre des Cavernes," Evocations, Op. 15,
No. 1. Paris: A. Durand & Fils, 1912.
______ . Padmavatx,Op. 18, libretto by Louis Laloy, ed. for voice

and piano. Paris: A. Durand & Fils, 1919.
______ . Suite, Op. 14. Paris: Salabert, 1910.
______ . "La Ville Rose," Evocations, Op. 15, No. 2. Paris: A.

Durand & Fils, 1912.
II. Literature
Bernard, Robert. Albert Roussel. Paris: La Colombe, 1948.
Boulanger, Nadia. "L’GEuvre theatrale d'Albert Roussel," La Revue

Musicale X/Numero special (Apr. 1929), 104-112 (Part I) and
La Revue Musicale X/7 (May-Jun. 1929), 38-52 (Part II).
Catalogue de l'OEuvre dfAlbert Roussel, [comp, and ed. Joseph Weter-

ings and Mme. Albert Roussel]. Paris/Brussels: Editor, 1947.
Collaer, Paul. A History of Modern Music, trans. Sally Abeles.

Cleveland and New York: World, 1961.
Cooper, Martin. French Music from the death of Berlioz to the death
of Faure. London: Oxford, 1951.
Danielou, Alain. Inde du Nord. Berlin: Buchet/Chastel, 1966.
Day, C. R. The Music and Musical Instruments of Southern India and

the Deccan (Delhi, 1891), repr. ed. with new introduction.
Delhi: B. R. Publishing Corp., 1977.
256
257
Deane, Basil. Albert Roussel. London: Barrie & Rockcliff, 1961.
Delvincourt, Claude. "Le langage harmonique d'Albert Roussel,"

La Revue Musicale XVIIl/Numero special (Nov. 1937), 318-320.
Demuth, Norman. Albert Roussel: A Study. London: United Music

Publishers, [1947].
Gil-Marchex, Henri. "La Musique de Piano d'Albert Roussel," La

Revue Musicale X/Numero special (Apr. 1929), 65-83.
Hill, Edward Burlingame. Modern French Music (Boston: Houghton

Mifflin, [1924]), repr. ed. Westport, Connecticut: Greenwood,
1970.
Hoeree, Arthur. Albert Roussel. Paris: Rieder, 1938.
______ . "La Technique," La Revue Musicale X/Numero special (Apr.

1929), 276-295 (a shortened version of this article appeared
later as part of Hoeree, Arthur, Albert Roussel, Paris:
Rieder, 1938).
Kaufmann, Walter. The Ragas of North India. Bloomington, Indiana:

Indiana University Press, 1968.
______ . The Ragas of South India: A Catalogue of Scalar Material.

Bloomington, Indiana: Indiana University Press, 1976.
Mellers, Wilfrid. "Albert Roussel and 'La Musique Franqaise',"

(Scrutiny, 1938), repr. rev. in Studies in Contemporary Music.
London: D. Dobson, 1947, 73-92.
Myers, Rollo . Modern French Music from Faure to Boulez. New York
and Washington: Praeger, 1971.
Pincherle, Marc. Albert Roussel. Geneva: Editions Rene Kister, 1957.
Popley, Herbert A. The Music of India. Calcutta: Association Press;

London: Oxford, 1921.
Surchamp, Dom Angelico. Albert Roussel: L'homme et son oeuvre.

Paris: Editions Seghers, 1967.
White, Emmons E. Appreciating India's Music: An Introduction, with

an emphasis on the Music of South India. Boston: Crescendo,
1971.
BIBLIOGRAPHY
Aguettant, Louis. La Musique de Piano. Paris: Editions Albin

Michel, 1954.
Apel, Willi. Harvard Dictionary of Music. Cambridge: Harvard

University Press, 1944.
______ . The History of Keyboard Music to 1700 (orig. publ. as

Geschichte der Orgel- und Klaviermusik bis 1700, Kassel:
Barenreiter-Verlag, 1967), trans. and rev. by Hans Tischler.
Bloomington/London: Indiana University Press, 1972.
Aubry, G. Jean-. French Music of To-day, trans. Edwin Evans, 4th

ed. London: Kegan, Trench, Trubner & Co., Ltd., 1926.
Bernard, Robert. Albert Roussel. Paris: La Colombe, 1948.
Boulanger, Nadia. "L'CEuvre theatrale d'Albert Roussel," La Revue

Musicale X/Nuraero special (Apr. 1929), 296-304 (Part I) and
La Revue Musicale X/7 (May-Jun. 1929), 38-52 (Part II).
Catalogue de l'CEuvre d'Albert Roussel, [comp, and ed. Joseph

Weterings and Mme. Albert Roussel]. Paris/Brussels: Editor,
1947.
Coeuroy, Andre. La Musique Francaise Moderne, 2nd ed. Paris:

Librairie Delagrave, 1924.
Cooper, Martin. French Music from the Death of Berlioz to the

Death of Faure. London: Oxford, 1951.
Cortese, Louis [Luigi]. "Albert Roussel," Rivista Musicale Italiana

XLI/6 (Jun. 1937), 591-608.
Cortot, Alfred. "L'CEuvre pianistique d'Albert Roussel," La Musique

Franqaise de Piano, 3 vols. (originally appeared under
same title in La Revue Musicale XVIIl/Numero special (Nov.
1937), 293-308). Paris: Presses Universitaires de France,
1948, III, 113-141.
258
259
Day, C. R. The Music and Musical Instruments of Southern India and

the Deccaa (Delhi, 1891), repr. ed. with new introduction.
Delhi: B. R. Publishing Corp., 1977.
Deane, Basil. Albert Roussel. London: Barrie & Rockcliff, 1961.
______ . "Albert Roussel," The New Grove Dictionary of Music and

Musicians, 6th ed., 20 vols., ed. Stanley Sadie. London:
Macmillan, 1980, XVI, 273-276.
Delvincourt, Claude. "Le langage harmonique d'Albert Roussel,"

La Revue Musicale XVIII/Numero special (Nov. 1937), 318-320.
Demuth, Norman. Albert Roussel: A study. London: United Music

Publ., Ltd., [1947].
______ . "Albert Roussel," Musical Trends in the Twentieth Century

(London: Rockcliff, 1952), repr. ed. Westport, Connecticut:
Greenwood Press, 1975, 59-69.
______ . French Piano Music: A Survey with Notes on its Performance.

London: Museum Press Ltd., 1959.
______ . "Roussel and the French Tradition," Music-Survey No. 3

(May 1948), 64-68.
Dolge, Alfred. Pianos and Their Makers (Covina Publishing Co.,

Covina, Ca,, 1911), abridged repub. New York: Dover, 1972.
Dufourcq, Norbert. La Musique Frangaise. Paris: Editions A. & J.

Picard, 1970.
Dumesnil, Rene. "Albert Roussel," Portraits de Musiciens frangais.

Paris: Plon, 1938, 212-224.
______ . L'aube du XXe siecle, Vol. IV of Histoire de la Musique des

Origines au Debut du XXe Siecle, 5 vols., ed. J. Combarieu
[vols. 1-3, 1913-19] and R. Dumesnil [vols. 4-5, 1958-60].
Paris: Librairie Armand Colin, 1958.
______ . La Musique contemporaine en France, 2 vols. Paris:

Librairie Armand Colin, 1930.
______ . La Musique en France entre les deux guerres, 1919-1939.

Geneva, Paris & Montreal: Editions du Milieu du Monde, 1946.
Eddins, John Marion. The Symphonic Music of Albert Roussel (Ph.D.

dissertation, The Florida State University, 1966). Ann Arbor,
Michigan: University Microfilms International, 1966.
260
Evans, Edwin. "Albert Roussel," The Chesterian VII/51 (Dec. 1925),

73-78.
______ . "Albert Roussel," The Chesterian XIX/138 (Mar.-Apr. 1938),

97-102.
Frank, Paul L. "Albert Roussel zum 25. Todestag," Osterreichische

Musikzeitschrift X (Oct. 1962), 478-481.
Gavoty, Bernard. Les Franqais: Sont-ils Musiciens? Paris:

Editions du Conquistador, 1950.
Gil-Marchex, Henri. "La Musique de Piano d'Albert Roussel," La

Revue Musicale X/Numero special (Apr. 1929), 257-275.
Hoeree, Arthur. Albert Roussel. Paris: Rieder, 1938.
______ . "La Technique," La Revue Musicale X/Numero special (Apr.

1929), 276-295 (a shortened version of this article appeared
later as part of Hoeree, Arthur, Albert Roussel, Paris:
Rieder, 1938).
Kaufmann, Walter. The Ragas of North India. Bloomington, Indiana:

Indiana University Press, 1968.
______ . The Ragas of South India: A Catalogue of Scalar Material.

Bloomington, Indiana: Indiana University Press, 1976.
Keller, Hermann. The Well-Tempered Clavier by Johann Sebastian Bach

(orig. publ. as Das Wohltemperierte Klavier, Kassel: Barenreiter-
Verlag, 1965), trans. Leigh Gerdine. New York: Norton, 1976.
Landormy, Paul. "Albert Roussel (1869-1937)," trans. Manton Monroe

Marble, The Musical Quarterly XXIV (1938), 512-527.
Lockspeiser, Edward. "Roussel and Ravel," Music and Letters XIX/3

(Jul. 1938), 245-250.
McCabe, John. Bartok Orchestral Music (orig. publ. British Broad

casting Corp., London, 1974). Seattle: Univ. of Washington
Press, 1975.
Mellers, Wilfrid. "Albert Roussel and 'La Musique Frangaise',"

(Scrutiny, 1938), repr. rev. in Studies in Contemporary Music.
London: D, Dobson, 1947, 73-92.
261
Minnis, Timothy. "Indian Modes in the Music of Albert Roussel."

Unpublished paper, Ohio State University, Columbus, Ohio,
1979. (This paper is included as an appendix to the present
work.)
Moreux, Serge. Bela Bartok, trans. G. S. Fraser and E. De Mauny

(London: Harvill Press, 1953), republ. ed. New York:
Vienna House, 1974.
Myers, Rollo. Modern French Music from Faure to Boulez. New York
and Washington: Praeger, 1971.
Pannain, Guido. "Albert Roussel," Musicisti dei Tempi Nuovi.

Turin: Paravia, 1932, 91-104.
Pincherle, Marc. Albert Roussel. Geneva: Editions Rene Kister, 1957.
______ . "Albert Roussel," Histoire de la Musique, 2 vols.,

ed. Roland-Manuel. Paris: Encyclopedie de la Pleiade,
Librairie Gallimard, 1963, II, 949-963.
Popley, Herbert A. The Music of India. Calcutta: Association Press;

London: Oxford, 1921.
Roland-Manuel, [Alexis]. "Albert Roussel," La Revue Musicale

IV/1 (Nov. 1922), 11-23.
______ . "Albert Roussel," Musique II (May 15, 1929), 885-887.
______ . "Albert Roussel, Deodat de Severac," Plaisir de la Musique,

3 vols. Paris: Editions du Seuil, 1951, III, 214-220.
Rostand, Claude. La Musique Franqaise Contemporaine. Paris:

Presses Universitaires de France, 1961.
Roussel, Albert. "Les vues de quelques compositeurs sur la musique

contemporaine. Lettre d'Albert Roussel," Le Monde Musical
XXXVII/6 (Jun. 30, 1926), 231-232.
Roy, Jean. "Albert Roussel," Presences contemporaines: Musique

Franqaise. Paris: Nouvelles Editions Debresse, 1962, 79-100.
Schneider, Marius. "Albert Roussel," Anbruch: Monatsschrift fiir

moderne Musilc XII/4-5 (Apr.-May 1930), 158-160.
262
Serieyx, M. L. (ed.)* D*Indy/DuParc/Roussel: Lettres a Auguste

Serieyx. Lausanne: M. L. Serieyx and Editions du Cervin,
1961.
Surchamp, Dom Angelico. Albert Roussel: L'homme et son oeuvre .

Paris: Editions Seghers, 1967.
Vuillemin, Louis. Albert Roussel et son oeuvre. Paris: Durand et

fils, 1924.
White, Emmons E. Appreciating India’s Music: An Introduction,

with an emphasis on the Music of South India. Boston:
Crescendo, 1971.

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INFORMATION TO USERS

The following explanation o f techniques is provided to help clarify markings or

2. When an image on the film is obliterated with a round black m ark, it is an

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Minnis, Timothy John

THE ORIGINAL SOLO PIANO MUSIC OF ALBERT ROUSSEL

The Ohio Stale University D.M.A. 1984

Presented in Partial Fulfillment of the Requirements

for the Degree Doctor of Musical Arts

in the School of Music in the Graduate School of

The Ohio State University

Timothy John Minnis, B.M., M.M.

The Ohio State University

Reading Committee: Approved by

Professor Richard Tetley-Kardos

Professor Keith E. Mixter

Professor Rosemary Platt School of Music

TIMOTHY JOHN MINNIS

The author is indebted to Monsieur Dorn Angelico Surchamp

In addition, the author wishes to thank Professor Basil

October 8, 1945 . . . . Born - Cleveland, Ohio

1956-1963 ............ Piano and Theoretical Studies,

1965-1967 ............ Instructor in Piano, Sommers School

1967 ................. Bachelor of Music degree in Piano

1967-1977 ............ Instructor in Piano and Theory,

1973 ................. Master of Music degree in Piano

1973-1974 ............ Director and President, Metropolitan

1974-1976 ............ Chairman, Board of Directors,

1977-1980 ............ Teaching Associate in Piano, Ohio

1978-1979 ............ Teaching Assistant in Piano Literature,

1979-1980 ........ . . Adjunct Instructor in Piano, Kenyon

1979 ................. Admitted to Candidacy for the degree

M.H. Osburn Fellowship for Doctoral Studies in Music - Ohio State

Scholarships for graduate studies leading to the Master of Music

Pi Kappa Lambda - Music Honorary Society, 1967.

Scholarships for undergraduate studies leading to the Bachelor of

AREAS OF SPECIAL INTEREST AND RESEARCH

The music of Albert Roussel (1869-1937). Papers include "Indian

Ornamentation and Performance Practice in French Baroque and Roccoco

Ornamentation and Performance Practice in the Keyboard Music of Mozart

Wednesday, May 23, 1979, 8:00 p.m., Hughes Auditorium. School of

TIMOTHY MINNIS, Piano

This recital is presented in partial fulfillment of the requirements

Suite in A minor (1728) Jean-Philippe Rameau

Sonata in E Major, Op. 109 (1820) Ludwig Van Beethoven

Sonata in F Sharp minor, Op. 2 (1853) Johannes Brahms

Alborada del gracioso (1905) Maurice Ravel

Friday, October 19, 1979, 8:00 p.m., Hughes Auditorium. School of

TIMOTHY MINNIS, Piano

This recital is presented in partial fulfillment of the requirements

Fantasia in F minor for Piano, Four Hands W. A. Mozart

Piano Concerto in E Flat Major, K.V. 271 W. A. Mozart

Sunday, February 3, 1980, 8:00 p.m., Hughes Auditorium. School of

This recital is presented in partial fulfillment of the requirement^

Sonata for Cello and Piano, Op. 65 Benjamin Britten

Sonata for Piano and Cello, Op. 65 Frederic Chopin

Liederkreis (Eichendorff), Op. 39 Robert Schumann

Wednesday, July 23, 1980, 8:00 p.m., Hughes Auditorium. School of

TIMOTHY MINNIS, Piano

This recital is presented in partial fulfillment of the requirements

Sonata in B minor, Op. 40, No. 2 Muzio Clementi

Barcarolle, Op. 60 Frederic Chopin

Sicilienne Albert Roussel