Andante et Intermezzo

This diptych for piano trio, dedicated to the violinist Édouard Nadaud (1862-1928), was published in 1889 by Bruneau. Its premiere apparently took place on 15 February 1890 at the Salle Pleyel, as part of the 200th concert of the Société nationale de musique, when it was played by Marie Jaëll (piano), Léon Heymann (violin) and Cornélis Liégeois (cello). Considered “very weak” – “faiblard” was the word used – by the only critic who gave an opinion on the piece (in the Guide musical), this short work enjoyed some popularity in the musical salons, where there is evidence that it was still to be heard several years later. The moderate (though genuine) virtuosity required of performers by these two movements make them accessible to amateur musicians. The Andante (initially marked “expressivo”) plays essentially on rhythmic oppositions between the piano and the other two soloists, before entering a livelier section characterised by highly contrasting dynamics (pp to ff). The liveliness of the piano in the final section (in quintuplets and sextuplets), which is echoed to some extent in the other sections, lends support to a passionate surge into the very high register. After two bars of piano introduction, the Intermezzo begins as a concertante discussion between the violin and the cello, punctuated by an ostinato rhythm (quaver - quaver rest - quaver) from the piano. Eventually, however, the piano enters the fray as tempers flare.