THE PIANO REPERTOIRE OF HAITI by Robert Grenier

From the Archives of the Société de recherche et de diffusion de la musique haïtienne (SRDMH) at the Centre de documentation de l’OICRM(1) de la Faculté de Musique de l”Université de Montréal

The Haitian Piano

PREFACE

This edition of the piano music by Haitian composers is based on the collection of scores
preserved in the archives of the Société de recherche et de diffusion de la musique haïtienne (SRDMH). The aim is to bring forward and to make accessible to scholars, musicians and the Haitian people the extent and variety of the artistic achievement spanning a period of more than a century. The archive contains fewer than two hundred scores for the piano, the large majority of which, are unpublished and accessible only as photo-reproductions. The archive does not include the entire repertoire of Haitian piano music, but it preserves an important and representative example.
The table of contents of the nine volumes presents a list of composers and their works. The first three volumes display a variety of compositions dating from the 1890’s to the present by a number of petit maîtres. Four volumes focus on individual composers who
contributed a substantial number of pieces and for whom two volumes each were
necessary. This is the case for both Carmen Brouard (1909-2005), volumes V & VI, and
Ludovic Lamothe (1882-1953), volumes VII & VIII. The remaining two volumes contain
the works of two composers who represent the remit of this research; volume IX contains
the works of Edmond Saintonge (1861-1907), the first composer of art-music for piano,
whereas volume IV presents the works of the present-day composer, Émile Desamours (b. 1949).
The process leading to the creation of this edition began in 2011, when I ventured on a new path of research. Having finished my edition of the extant collection of Haitian string
quartets, my interest turned to Haiti’s piano music. A request to begin this research was
presented, but delayed due to the decision of the SRDMH to transfer their library of
documents from its housing at l’Université de Québec de Montréal (UQAM) to the
Laboratoire de recherche sur les musiques du monde de l’Université de Montréal. This
transfer necessitated their reception into the archive through a new cataloguing of their
contents. This process involved a further delay of a year. Finally, in May of 2013, I spent
two days with Claude Dauphin in the archive photographing the contents of the piano
scores. (At present, the archive is housed in the Centre de documentation de l’OICRM2 de
la Faculté de musique de l’Université de Montréal.) Some scores in the collection of the
archives could not be included due to paper loss and missing pages. Recently published
scores are not included here as they need no assistance from this editor. The scores of Émile Desamours are included with his consent; unpublished pieces by other living composers are not included, since they could be revised in the future.
From May of 2013 to the present, the critical edition of the scores has generated two types of documents: edited scores and editorial notes. The edited scores aim to eliminate a variety of errors, lapses and omissions in notation so as to present a reliable and
performable score. The editorial notes contain basic information about the source material such as the dating and autograph status of the document, its condition, and number of pages. In addition, any concerns that effected a change in the edited score are enumerated in detail so as to provide a transparent explanation of what was changed and why. It is important to recall that many of the edited scores were based on manuscripts that were still working copies of these composers: second thoughts, corrections, crossed out passages, insertions, and marginal instructions had to be sorted out and assessed for their inclusion in the edited score.
A further element provided in the notes is a formal outline of each piece. Some composers are very clear in providing their scores with exact directions as to the formal design. Perhaps, because the composers themselves played from their own scores, they sometimes did not need to write out a ‘road-map’ of directions. In several cases I have proposed what I believe is a viable way of performing a composition due to the source material’s unclear and even confusing directions. Interpreting artists are free to consider adopting or modifying the proposed formal plan as desired.
Very little has been added to the revised scores. An absence of a tempo and dynamic mark at the outset of some pieces has prompted a parenthetical suggestion for both in the edition.
All fingering found in these editions is original to the documents themselves. It cannot be
established with certainty that all these are in the hands of the composer, since some scores are photo-reproductions of manuscripts that may, at some time, have been played by another artist, photo-copied and then deposited in the archive. I have retained all the fingering since its use is ultimately discretionary.
The range of compositions found in this collection points to an obvious fact – there is no
one way of writing Haitian piano music. All the composers presented here are native to
the Republic of Haiti, but their music exhibits a wide range of styles and degree of artistic
achievement. The influence of Mozart, Chopin, and Bartok are clearly evident and attested to by the composers themselves. Romantic, Neoclassical and Modernist styles are all represented. To this, the heritage of Haiti’s own musical culture has an equal share in the imaginative lives of these composers: some are clearly influenced by the musical legacy of Vodou, while others prefer the urban musical culture with its reference to the passing fashion of popular songs, singers, dance steps, and jazz. When engaged in drawing from the music associated with the spiritual world of Vodou, composers have had recourse to citations that are ethnographically based, or regard this resource as a point of departure for their own impressionistic rendering. The musical heritage of Europe, the Americas, and Haiti have all contributed something to their art in addition to their own independent voice.
All this music was not created in a vacuum free from the turmoil of life. Many composers
left Haiti to advance their education; others, for safety and security. Emigration was not
uncommon, though it should be stated that the twentieth century saw the displacement of a great number of artists from all over the world seeking security. The turbulent politics of Haiti from the nineteenth to the twentieth century has motivated some Haitian composers to leave. For example, following a coup in 1869, our earliest composer, Edmond Saintonge, was compelled to leave Haiti as a child accompanied by his father who was a minister in the deposed government. Their departure from Haiti only led them to a world still dominated by prejudice supported by a dogmatic and scientific racism.
Haitians had already encountered these attitudes, as exemplified by the Haitian diplomat
and anthropologist, Anténor Firmin, who in his treatise on the equality of the human races, “De l’égalité des races humaines” (1885), challenged the racism of the Société
Anthropologique of Paris. In the twentieth century, the Négritude movement was initiated by the writings of the Martinique polymath, Aimé Cesare, who makes reference to the Haitian revolution in his Cahier d’un retour au pays natal (1939). The dawn of the Négritude movement heralded an articulate intellectual awakening among certain thinkers in the Afro-Caribbean world who may have encouraged some artists to speak more boldly in their music. While all this is true, the medium in which the composers in this collection worked was text-less and consisted instead of sounds captured in abstract musical forms.
It is thus rare to find evidence of these social concerns in the music of the majority of
composers of art music. It is perhaps Carmen Brouard who is the most interesting
composer by engaging us with her love of her country and, through her dedications, reveals the importance of community. Her Negro sonate, at first, appears as the most obvious example of what may have been her registering in sound of the aspirations of the Négritude movement. However, the reality is that the sonata is dedicated “…to all the Negroes of the world, Black, White, Yellow.” Brouard’s dedication is intended to expresses a universal aspiration not limited to an ideological agenda based on racial categories. This sonata, plus many other fine compositions, remain unknown to the world due to a lack of access: the dances of Lamothe (celebrated in his time as the black Chopin), the sonata of Desamours, that catalogues Haiti’s popular music, the artful six Méringues populaires of Justin Élie (1883-1931) with their virtuoso élan, all merit attention. To this must be added the remarkable music of Saintonge whose scores were only recently salvaged from disintegration after a century-long abeyance following his death.
Considering the neglect of this repertoire, one of the goals of this edition is the discovery
of how to play them. There is, at present no living tradition, no continuity of performance.
Only a handful of pianists know and play some of this music. The solution to this issue
can only be found in the judicious deliberation of interpreters who repeatedly and in public present this music- it must be sounded aloud to reveal its architecture. Not all of this music is destined to enter the standard repertoire. However, the challenge must be made.
-Robert Grenier, Orangeburg, January 2023
Acknowledgements:
I would like to thank the following individuals who have assisted me in this long project:
Professor Claude Dauphin, Jean-Claude Nazon, president of the SRDMH, Monique
Desroches, Tom Clowes, Marianne Parker, and Dr. Lawrence Goodall.

(1) OICRM : Observatoire interdisciplinaire de création et de recherche en musique.

VOLUME I

Critical edition Robert Grenier, editor

VARIOUS MASTERS

Preface I

OCCIDE JEANTY (1860-1936)

Editor’s notes on No 1 to No 51

No 1 Alice, Gavotte 12
No 2 Gracieuse, Two-step 17
No 3 Les Masques, Méringue (1897) 23
No 4 P’tit’ Ninn’, Gavotte 28
No 5 Un Baiser interrompu, Méringue 31

FERNAND FRANGUEL (1872-1911)

Ed. notes on Méringues populaires d’Haïti: 35
No 6 I Caprice 37
No 7 II Flirt, Two-step 44
No 8 III La Créole 49

JUSTIN ELIE (1883-1931)

Ed. notes on Valse de concert 51
No 9 Valse de concert 55
Ed. Notes on Méringues populaires 72
No 10 I Allegretto en do-majeur 77
No 11 II Andante en la-majeur 80
No 12 III Allegretto en la bemol-majeur 82
No 13 IV Andante espressivo en do-mineur 84
No 14 V Andantino giocoso en sol-majeur 86
No 15 VI Andante gracioso en mi-mineur 88
Ed. notes on Les Chants de la montagne 90
No 16 Les Chants de la montagne No 1 “Echo-Isma o” 91
No 17 Les Chants de la montagne No 2 “Nostalgie” 95
No 18 Les Chants de la montagne No 3 “Nocturne” 101
Ed. notes on La Reine des Nuits 108
No 19 La Reine des Nuits 109

VOLVICK RICOURT (1893-1962)

Ed. notes on Souvenances et Souffrances, Méringue haïtienne 116
No 20 Souvenances et Souffrances, Méringue haïtienne 118
Jules Héraux (189?-1960)
Ed. notes on Près de Toi, Valse lente 120
No 21 Près de Toi, Valse lente 122

FRANCK LASSÈGUE (1890-1940)

Ed. notes on La Marchande de pâtés, Croquis haïtien No. 6 128
No 22 La Marchande de pâtés, Croquis haïtien No. 6 131
Ed. notes on Les Chansons du rivage No 3 140
No 23 Les Chansons du rivage No 3 144
Ed. notes on Danse antillaise No 1 149
No 24 Danse antillaise No 1 150

CONSTANTIN ASTRÉE (fl. 1900)

Ed. notes on La vie malheureuse, Valse lente pour piano 152
No 25 La vie malheureuse, Valse lente pour piano 154

JOSEPH BRÉZAULT (fl. 1900)

Ed. notes on Malgré tout, Méringue haïtienne 157
No 26 Malgré tout, Méringue haïtienne 160
Ed. notes on Renée, Arr. Antoine Rameau 165
No 27 Renée, Valse lente 167

ALAIN CLÉRIÉ (1876-1941)

Ed. notes on Prélude 171
No 28 Prélude 172

Justin Élie (1883-1931)

Supplemental
No 29 Fantasie tropicale (pour piano et orchestra) 176
(-version pour deux pianos)

VOLUME II

Various Masters

ALBERT GRANVILLE (fl. 1900)

Ed. notes on Un Rêve, Valse lente 1
No 1 Un Rêve, Valse lente 3

ALPHONSE JEAN-JOSEPH (fl. 1900)

Ed. notes on Coeur brisé, Valse lente 8
No 2 Coeur brisé, Valse lente 10

ANONYMOUS (fl. 1900)

Ed. notes on Ça ou gaingnin, ou a pé crié? / Écouter, chers amis…. 14
No 3 Ça ou gaingnin, ou a pé crié? 16
No 4 Écouter, chers amis…. 18
Ed. on Méringues haïtiennes, Jellico / En ce temps-la, 19
No 5 -Jellico 21
No 6 -En ce temps-la, 22
Ed. on Ouaï! ti manman moin chè /Rété tranquille 23
No 7 Ouaï! ti manman moin chè 25
No 8 Rété tranquille 27
Ed. on Si-m’pas rhélé, rhoy /Ti Chatte 28
No 9 Si-m’pas rhélé, rhoy & 31
No 10 Ti Chatte 34

HENRI ÉTIENNE (fl. 1900)

Ed. notes on Syta & Tania 35
No 11 Syta, Valse hésitation (Cap-Haïtien le 1er janvier 1948) 39
No 12 Tania, Méringue pour piano (Cap-Haïtien, 1934) 45

SAINT-SURIN FRANÇOIS MANIGAT (1857-1900)

Ed. notes on Souvenir de quinze jours au Cap-Haïtien, Méringue 49
No 13 Souvenir de quinze jours au Cap-Haïtien, Méringue 53

LOUIS ROMAIN (fl. 1900)

Ed. notes on Coeur méprisé 58
No 14 Coeur méprisé 66
No 15 Je t’aime, Valse lente 71
No 16 Rose blanche, Valse lente 72
No 17 Supplication, Valse lente 76

MADAME B. A. ROUSSEAU (fl.1900)

Ed. notes on Au Murmure de la source, Valse 79
No 18 Au Murmure de la source, Valse 81

SOLON C.VERRET (1912-1992)

Ed. notes on No 19 to No 25 87
No 19 Ave Maria, Méditation 103
No 20 Babillage, Valse 107
No 21 Excelsior 111
No 22 Fascination, Méringue haïtienne 116
No 23 La Créole, Méringue 122
No 24 Pensée musicale No 2 130
No 25 Prière, (Ave Maria) 134

ANTALCIDAS MURAT (1915-1988)

Irène arr. Émile Desamours * See Émile Desamours Volume IV

VOLUME III

Various Masters

ROBERT E. DURAND (1917-1995)

Ed. notes on No 1 to No 4 1
No 1 Danse haïtienne -tirée du Quatuor No 1 (novembre 1945) 7
No 2 Air ancien (1790) Arr. Méringue (1958) 12
No 3 Berceuse (1989) 15
No 4 Carnaval (1990) 19

MICHELINE LEDUN (b.1930)

Ed. notes on Claudette, Méringue 27
No 5 Claudette, Méringue (1945) 30

FÉRÈRE LAGUERRE (1935-1983)

Ed. notes on No 6 to No 16 35
Cinq courtes pièces pour piano
No 6 I 44
No 7 II 46
No 8 III 47
No 9 IV 48
No 10 V 49
Suite enfantine pour piano
No 11 I Tifi 50
No 12 II Bal Guédé 53
No 13 III Lago-lago 55
No 14 Comme un profil perdu 57
No 15 Paillette 60
Trois rondes haïtiennes
No 16 -1 Trois fois passé là 64

CLAUDE DAUPHIN (b.1949)

Ed. notes on Contes sans paroles Op.10.
Contes sans paroles Op.10. 70
No 17 -1 Kimba Ladja 71
No 18 -2 Dèsye 7 74
No 19 -3 Bouki, Lapen ak Pentad 76
No 20 -4 Ti pye zoranj 78
No 21 -5 Tiipèz Kafe (a) 80
No 22 -6 Triyèz Kafe (b) 82
No 23 -7 Chyen ak Chat 85
No 24 -8 Se pa mowen se Leon 88
No 25 -9 Ti bèt a wa 90

ANDRÉ GILLES (n.d.)

Ed. notes on Éligie 92
No 26 Éligie 94

JULES VILLARD

Ed. notes on L’Homme à l’Hispano 98
No 27 L’Homme à l’Hispano 100
Ed. notes on Reine Lumière 108
No 28 Reine Lumière 110

VOLUME IV

ÉMILE DESAMOURS

ŒUVRES POUR PIANO

Forward 1

Ed. notes on Bal Champêtre 3
No 1 Bal Champêtre 5
Ed. notes on Quisquéyenne (1965) 8
No 2 Quisquéyenne 10
Ed. notes on Pot Pourri (1990) 15
No 3 Pot Pourri 16
Ed. notes on Inoubliable! (1993) 24
No 4 Inoubliable! 25
Ed. notes on Carte Blanche- Transcription & Variations d’Émile Desamours 31
No 5 Carte Blanche (Occide Jeanty) (1993) 33
Ed. notes on Sonate folklorique en sol majeur sur les chansons populaires d’Haïti (1993) 41
Sonate folklorique en sol majeur sur les chansons populaires d’Haïti (1996)
No 6 I Femmes “See, see me!” Belle Marie pou li” 52
No 7 II Tendresse “Toc-toc, toc-toc, toc!” 62
No 8 IIIa “Mystères” Rhapsodie créole (with coda) 70
No 9 IIIb “Mystères” Rhapsodie créole (no coda) 82
No 10 -Coda 100
Ed. notes on Jacot… 101
No 11a Jacot… (pour piano à quatre mains) – full score (1996) 103
No 11b Jacot… (pour piano à quatre mains) – primo-secundo 116
Ed. notes on Souvenir des Zizipans (1996) 129
No 12a Souvenir des Zizipans (Occide Jeanty) arr. Émile Desamours 132
(pour deux pianos) -full score (2003)
No 12b Souvenir des Zizipans (Occide Jeanty) arr. Émile Desamours 130
(pour deux pianos) -primo-secundo (2003)
Ed. notes on Les Vautours du 6 décembre 148
No 13 Les Vautours du 6 décembre (Occide Jeanty) arr. Émile Desamours 150
Ed. notes on Irène 156
No 14 Irène (Antalcidas Murat) Arr. Émile Desamours 158

VOLUME V

CARMEN BROUARD

FORWARD 2

Ed. notes on Quatre nocturnes (1962) 3
No 1 1. Nocturne No 1 12
No 2 2. Nocturne No 2 (1959) 19
No 3 3. Nocturne No 3 25
No 4 4. Nocturne No 4 34
No 5 Nocturne (No 5) (1968) 38
Ed. notes on Poème en forme de sonate (1963) 44
No 6 1. Allègro moderato, avec violence 51
No 7 2. Andante 63
No 8 3. Avec allégresse 66
Ed. notes on Je joue avec Mamie -piano 4-mains – full score (1965) 73
No 9a 1. Chanson douce 83
No 10a 2. Dansons 85
No 11a 3. Petit Rondo 86
No 12a 4. Maman valse 88
No 13a 5. Premier chagrin, Mamie console 91
No 14a 6. Cantique à Marie 95
No 15a 7. Ces demoiselles se visitent 100
No 16a 8. Petit menuet sentimental 104
Je joue avec Mamie -piano 4-mains – primo-secundo (1965)
No 9b 1. Chanson douce 109
No 10b 2. Dansons 112
No 11b 3. Petit Rondo 114
No 12b 4. Maman valse 116
No 13b 5. Premier chagrin, Mamie console 120
No 14b 6. Cantique à Marie 124
No 15b 7. Ces demoiselles se visitent 130
No 16b 8. Petit menuet sentimental 134
No 16b 8. Petit menuet sentimental 134

VOLUME VI

CARMEN BROUARD

ŒUVRES POUR PIANO PART 2

Ed. notes on L’Île magique…Haïti… 1
No 1 1. “Complainte créole” (1988) 13
No 2 2. “Matin à Port-au-Prince” (1992) 17
No 3 3. “Marché à Pétion-Ville” (1992) 23
No 4 4. “Spleen à Kenskoff” (1992) 31
No 5 5. “Toccata vaudouesque” (1983) 38
Ed. notes on Nuits sous les tonnelles d’Haïti: Sonata for two pianos: Score (1970) 52
No 6a I Nuits sous les tonnelles d’Haïti 61
No 7a II Idyle paysanne 86
No 8a III Tam Tam 95
Nuits sous les tonnelles d’Haïti: Sonata for two pianos: Primo-secundo (1970) 114
No 6b I Nuits sous les tonnelles d’Haïti 114
No 7b II Idyle paysanne 138
No 8b III Tam Tam 148
Ed. notes on Ballade poétique au Québec 168
No 9: Ballade poétique au Québec (1986) 171
Ed. notes on Neuf pièces enfantines (1986) 178
No 10 1. De bonne humeur 184
No 11 2. Cache cache 186
No 12 3. Petit rondo 187
No 13 4. Allô Mozart 188
No 14 5. Premier chagrin, Mamie console 189
No 15 6. Babillage 191
No 16 7. Rêverie 193
No 17 8. Je joue Schumann 194
No 18 9. Prière 196
Ed. notes on Negro sonate 198
No 19 I Fatalité (1988) 207
No 20 II Complainte créole (1988) 225
No 21 III Danse frénétique (1987) 229

VOLUME VII

LUDOVIC LAMOTHE

ŒUVRES POUR PIANO – PART 1

Biography/photo/translation: 1
Ed. notes on Danse espagnoles 3
No 1 Danse espagnoles I en sol-majeur 50
No 2 Danse espagnoles II en la-mineur 58
No 3 Danse espagnoles III en fa-mineur 65
No 4 Danse espagnoles IV en si-mineur 72
No 5 Danse espagnoles V en mi-mineur 78
No 6 Danse espagnoles VI en mi-majeur, do bémol-mineur 85
No 7 Danse espagnoles VII en ré-mineur 95
No 8 Danse espagnoles VIII en mi bémol-mineur 102
No 9 Danse espagnoles IX en sol-mineur 111
Ed. notes on Quatre Danses 119
No 10 I Habanera en fa-mineur 138
No 11 II en do-majeur 145
No 12 III en mi bémol-majeur 152
No 13 IV en la-mineur 158
Ed. notes on Libellule, Caprice pour piano 162
No 14 Libellule, Caprice pour piano 169
Ed. notes on Scènes de carnival 180
No 15 I Prélude 209
No 16 II Chanson d’amour 222
No 17 III Ballade 227
No 18 IV Danse capoise 235
No 19 V Retraite aux flambeaux 240
Ed. notes on Valse aux étoiles 248
No 20 Valse aux étoiles 252
Ed. notes on Tango 261
No 21 Tango 263

VOLUME VIII

LUDOVIC LAMOTHE

ŒUVRES POUR PIANO – PART 2

Ed. notes on Scherzo 1
No 1 Scherzo 18
Ed. notes on Gavotte dans le style ancien 37
No 2 Gavotte dans le style ancien 40
Ed. notes on Loco 48
No 3 Loco 50
Ed. notes on Sobo 55
No 4 Sobo 58
Ed. notes on Sous la tonnelle 63
No 5 Sous la tonnelle 67
Ed. notes on Feuillet d’album No1 & No2 72
No 6 Feuillet d’album No1 80
No 7 Feuillet d’album No2 87
Ed. notes on Évocation 93
No 8 Évocation 97
Ed. notes on Valse de concert 104
No 9 Valse de concert 110
Ed. notes on Valse-impromtu 116
No 10 Valse-impromtu 122
Ed. notes on Souvenir, Intermezzo-valse 130
No 11 Souvenir, Intermezzo-valse 141
Ed. notes on Valse romantique 152
No 12 Valse romantique 163
Ed. notes on Déclaration 174
No 13 Déclaration 178
Ed. notes on Papillons noirs,Valse lente 184
No 14 Papillons noirs,Valse lente 189
Ed. notes on Vaporeuse, Valse lente 197
No 15 Vaporeuse, Valse lente 202
Ed. notes on Angela Waltz 209
No 16 Angela Waltz 214
Ed. notes on La Dangereuse, Méringue haïtienne 222
No 17 La Dangereuse, Méringue haïtienne 225
Ed. notes on Nibo 232
No 18 Nibo 233
Ed. notes on Chansons haïtiennes 236
No 19 Chansons haïtiennes 238
Ed. notes on Caprice-Gavotte 242
No 20 Caprice-Gavotte 243

VOLUME IX

à partir des manuscrits appartenant à la collection particulière de Claude Dauphin,
Montréal (QC) Canada

EDMOND SAINTONGE

ŒUVRES POUR PIANO

Numeric List 1

FORWARD 1

Ed. notes on Grande Fantaisie, Op. 2 3
No 1 Grande Fantaisie, Op. 2 10
Ed. notes on Grande Fantaisie, Op. 4 22
No 2 Grande Fantaisie Mazurka de concert “Voulez-vous” 26
No 3 Grande Fantaisie, Op. 4 40
Ed. notes on Op. 10 52
No 4 Op. 10 56
Ed. notes on Suite haïtienne No 1, Op. 16, 67
No 5 – No 1 70
No 6 – No 2 73
No 7 – No 3 77
Ed. notes on Mazurka de salon 80
No 8 Mazurka de salon 83
Ed. notes on Fantasie -Marche Funèbre 88
No 9 Fantasie -Marche Funèbre 94
Ed. notes on Valse à Chopin 103
No 10 Valse à Chopin 106
Ed. notes on Méringue favorite en si-mineur 113
The Piano Repertoire of Haiti
9
No 11 Méringue favorite en si-mineur 116
Ed. notes on Galopade en la majeur 117
No 12 Galopade en la-majeur 118
Ed. notes on Caprice-Méringue en ut mineur 121
No 13 Caprice-Méringue en ut-mineur 123
EN on Romance sans paroles-Méringue en ut-mineur 128
No 14 Romance sans paroles–Méringue en ut-mineur 130
Ed. notes on Élegie-Méringue 134
No 15 Élegie-Méringue 139
Ed. notes on Étude-Méringue en sol-mineur 149
No 16 Étude-Méringue e n sol-mineur 151
Ed. notes on Romance, Méringue en fa-mineur 156
No 17 Romance, Méringue en fa-mineur 158
Ed. notes on Une Variation 163
No 18 Une Variation 168
Ed. notes on Prélude-Méringue 173
No 19 Prélude-Méringue 180
Ed. notes on Pages Intimes 190
No 20 – No 1 Désespérance 204
No 21 – No 2 Mélancolie, Mazurke de Salon 209
No 22 – No 3 Causerie sentimentale, Mazurke de Salon 214
Ed. notes on Au moulin, 1e version 219
No 23 Au moulin, 1e version 222
Ed. notes on Au moulin, 2e version 232
No 24 Au moulin, 2e version 234
Ed. notes on Un Sourire, un Baiser 242
No 25 Un Sourire, un Baiser. Mélodie en sol-majeur 244
Ed. notes on Grand Rhapsodie-Valse 249
No 26 Grand Rhapsodie-Valse 254
Ed. notes on Sérénade-Mazurke (34) 271
No 27 Sérénade-Mazurke (34) 275
Ed. notes on Sérénade-Mazurke (37) 280
No 28 Sérénade-Mazurke (37) 284
Ed. notes on Notturno 290
No 29 Notturno 293
Ed. notes on Pétion-ville polka, Grande Polka de Salon (op.15) 296
No 30 Pétion-ville polka, Grande Polka de Salon (op.15) 300
Ed. notes on Souvenier d’Iménès 308
No 31 Souvenier d’Iménès 310
Ed. Notes on fragments: Grand Méringue Symphonique & Op. 12 316
No 32 Grand Méringue Symphonique 318
No 33 Op. 12 321

© Copyright Robert Grenier (2024)