Notes on Souvenance, CG 590 by Charles Gounod, Information, Analysis and Performance Tutorial

General Overview

“Souvenance, CG 590” by Charles Gounod is a solo piano piece classified as a nocturne. Composed and published in 1865, it is dedicated to Monsieur Francis Deffell.

Here is a general overview:

Genre and Form: It’s a nocturne, a musical genre popular during the Romantic period, often characterized by a dreamy, contemplative, and lyrical atmosphere, and typically performed on the piano. Nocturnes are known for their expressive melodies and rich harmony.

Instrumentation: The piece is written specifically for the piano.

Stylistic Period: “Souvenance” is a prime example of Romanticism, a period where the expression of emotions, subjectivity, and melody were paramount in music.

Atmosphere: As its title suggests (“Souvenance” is an old French word for “remembrance,” recalling the modern word “souvenir”), one can expect a piece that evokes nostalgia, reverie, or memory. Gounod’s nocturnes, like those by Chopin or Field, are often intimate and poetic.

Popularity: While Gounod is best known for his operas like “Faust” and “Roméo et Juliette,” he also composed a significant number of works for piano. “Souvenance” is one of these pieces, though it is less famous than his major vocal works. It remains appreciated for its melodic beauty and romantic charm.

In summary, “Souvenance, CG 590” is a romantic piano nocturne that invites contemplation and the evocation of memories, typical of Gounod’s melodic and expressive style.

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Musical Characteristics

1. Structure and Form:

Probable Ternary Form (ABA’): Like many nocturnes, it is highly likely that “Souvenance” follows a ternary structure.

• Section A: Introduction of the main theme, which is lyrical and melodious, establishing a contemplative atmosphere.
• Section B: A contrasting episode, often with a change in key, tempo, or character, providing a moment of tension or different reflection.
• Section A’: The return of the initial theme, often with variations or more elaborate ornamentation, leading to a peaceful conclusion.

Short Duration: Nocturnes are generally short pieces, lasting a few minutes.

1. Melody:

Lyrical and cantabile: The melody is the central element, designed to be singing and expressive, like a wordless vocalise or an arietta on the piano. This is an essential characteristic of Gounod’s style, which was heavily influenced by opera.

Elegant Phrasing: The phrasing is likely fluid and gentle, with melodic lines that develop naturally.

Delicate Ornamentation: Expect delicate ornamentation (appoggiaturas, gruppettos, light trills) that add grace and expressiveness without weighing down the melody.

1. Harmony:

Consonant and Rich: The harmony is predominantly consonant, creating a sense of calm and beauty. However, Gounod uses rich chords, often with extensions (ninths, elevenths) or inversions that add depth and a romantic color.

Expressive Modulations: Gentle and sometimes unexpected modulations may be used to explore different emotional shades and enrich the musical discourse, which is typical of Romantic writing.

Use of Pedal: The frequent use of the sustain pedal is essential to connect harmonies and create a resonant, diffuse sound, characteristic of nocturnes.

1. Rhythm and Tempo:

Moderate and Fluctuating Tempo: The tempo is likely slow or moderate (Andante or Moderato), allowing the melody to breathe. Subtle rubato is expected, giving the rhythm flexibility and emphasizing expression.

Steady Accompaniment: The left hand often provides a regular accompaniment, often in the form of broken arpeggios or spaced chords, which provides a stable harmonic support for the right hand’s melody. This accompaniment pattern is emblematic of the nocturne.

1. Dynamics and Expression:

Subtle Dynamic Contrast: Changes in dynamics are generally gradual and not extreme, ranging from a delicate pianissimo to an expressive mezzo forte, creating an intimate and contemplative atmosphere.

Expressive Markings: The score is likely to contain numerous expressive indications (e.g., dolce, espressivo, cantabile, sostenuto) guiding the performer toward the poetic nature of the piece.

1. General Style:

French Lyrical Romanticism: “Souvenance” is a perfect example of French lyrical Romanticism, which is less dramatic than some of its German contemporaries, but prioritizes clarity, elegance, and melodic beauty.

Operatic Influence: Even on the piano, Gounod transfers his vocal sensibility. The melody can often be perceived as a “voice” accompanied by the keyboard.

In short, “Souvenance” is a piece where a singing and expressive melody is supported by rich and suggestive harmony, all within a dreamy, contemplative atmosphere typical of the romantic nocturne.

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Analysis, Tutorial, Interpretation, and Important Playing Points

Analysis of “Souvenance, CG 590” (Nocturne)

For a precise analysis, the score is essential, but here’s what one can generally expect from a Gounod nocturne:

Form: Most likely a classic ternary (ABA’) form.

• Section A: Establishes the main theme, often lyrical and melancholic. The main key (likely a minor key or a gentle major key like B-flat Major, F Major, or G Major for this type of piece) is clearly established. The typical nocturne accompaniment pattern (broken arpeggios or regular chords in the left hand) is set.
• Section B: Provides contrast. This could be a change of key (to the relative major/minor, or a more distant key), a change in rhythm, a more agitated or passionate melody, or a denser texture. This is the emotional core where the expression might intensify.
• Section A’: Return of the initial theme, often enriched with ornamentation, subtle variations, or a coda that leads to a peaceful and reflective conclusion, often pianissimo.

Harmony:

Consonant with Expressive Dissonances: The harmony will be globally beautiful and lyrical, but Gounod will use unresolved dissonances or suspensions to create tension and emotional color (for example, ninth chords, appoggiaturas).

Modulations: Gentle and sometimes unexpected modulations, but always fluid, to explore different harmonic shades.

Pedal: The intensive use of the sustain pedal is crucial to connect harmonies, create a sound halo, and support the melodic lines.

Melody:

Cantabile and Vocal: The right-hand melody is king. It must sing, like an opera aria. Gounod is a lyrical composer above all.

Long, Breathing Phrasing: The melodic phrases will likely be long, requiring great control of musical breath.

Ornamentation: Trills, gruppettos, and appoggiaturas that enrich the line without making it heavy.

Rhythm and Meter:

Often 4/4 or 6/8: These meters allow for a fluid movement and easy arpeggiated accompaniment.

Rubato: A natural and expressive rubato is expected to give flexibility and feeling to the melody.

Piano Tutorial

Initial Sight-Reading:

• Start by playing slowly, hands separately. Focus on recognizing the notes, rhythm, and phrasing.
• Identify the main key and the major harmonic changes.

Left Hand (Accompaniment):

• Regularity and Gentleness: The accompaniment must be regular but never mechanical. It should be the sound carpet on which the melody rests.
• Listening for Harmony: Play the left hand while concentrating on the beauty of the chords and their resonance.
• Bass Legato: Ensure a perfect legato for the bass line, even if the rest of the arpeggio is lighter.

Right Hand (Melody):

• Sing the Melody: Literally. If you can’t sing it, you won’t be able to make it sing on the piano.
• Weight and Sound: The melody should have a full, rich sound, even at soft dynamics. Use the weight of the arm to create a deep sound rather than striking with the finger.
• Phrasing and Breathing: Identify the ends of phrases and imagine “breaths” to structure the melody. Don’t cut off phrases.

Hands Together:

• Voice Balance: The right-hand melody should always be prominent compared to the left-hand accompaniment. The left hand should remain discreet but present.
• Rubato Coordination: Work on the rubato so that it’s natural and synchronized between both hands. Rubato should serve the melody, not be arbitrary.

Pedal: Experiment with the sustain pedal.

• Change the pedal with each harmonic change, or at a minimum on the strong beats.
• Don’t hesitate to use “half-pedals” or quick changes to avoid harmonic blur while maintaining resonance.
• The pedal should create a legato sound and an atmosphere, not a muddled one.

Interpretation

The interpretation of “Souvenance” should focus on expressing feeling and emotion.

Atmosphere:

• Dreamy and Contemplative: The title “Souvenance” (remembrance) suggests introspection and reminiscence. The atmosphere should be gentle, sometimes melancholic, but never hopeless.
• Intimacy: This is a piece for oneself or for an intimate audience. The sound should be delicate and personal.

Melodic Sensitivity:

Cantabile: Aim for a singing, expressive sound with subtle nuances. Every note of the melody must have meaning.

Long Lines: Think in terms of long melodic lines, not individual notes. This helps create a musical flow.

Dynamics:

Subtle Nuances: Avoid overly abrupt dynamic contrasts. Crescendos and decrescendos should be gradual and organic.

Expressive Pianissimo: The ability to produce a pianissimo with quality sound is crucial for the atmosphere.

Rubato:

Natural and Phrasing-Driven: The rubato should not be excessive or mannered. It should flow from the melody, highlighting the climaxes of phrases and allowing expression to breathe. Think of a singer who takes their time on certain notes or phrases.

Tone Color:

Timbre: Seek varied timbres, even within soft dynamics. For example, one section can be “brighter” and another “darker.”

Important Points for Piano Playing

Sound Control:

• Legato Touch: Develop a very fine legato touch, especially in the right hand. Each note should connect perfectly to the next.
• Weight and Relaxation: Play with the weight of the arm and hand, not with finger force. Relaxation is key to obtaining a rich sound and avoiding tension.

Attentive Listening:

• Voice Balance: Constantly train yourself to listen to the balance between the melody and the accompaniment. The left hand should never cover the right.
• Resonance: Listen to how the pedal affects the resonance of the harmonies.

Pedal Technique:

• Precision: Change the pedal with precision, at the right moment, generally on the beat (or just after the attack of a new chord for the legato effect).
• Half-Pedal / Vibrato Pedal: Learn to use these techniques to clean up resonance without completely cutting off the sound.

Internal Rhythm:

• Even with rubato, maintain an internal sense of tempo. Rubato should be a temporary deviation from the pulse, not a total loss of it.

Memorization and Immersion:

• Once the technical basics are acquired, work on emotional immersion. The more you know the piece by heart, the freer you are to focus on expression.

Contextualization:

• Listen to other nocturnes by Gounod, Chopin, Field, and Fauré. This will give you a better idea of the style and atmosphere sought.

Playing “Souvenance” is an opportunity to explore Gounod’s lyrical beauty and poetry on the piano. It is a piece that prioritizes heart and soul over pure technical virtuosity.

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History

The history of “Souvenance, CG 590” by Charles Gounod is that of a small musical gem born at the height of his flourishing career. Composed and published in 1865, this solo piano piece was created during a period when Gounod was already a recognized and celebrated composer, notably thanks to the resounding success of his opera “Faust,” premiered in 1859.

At that time, Gounod, while primarily known for his grand lyrical and sacred works, also cultivated a particular affinity for chamber music and piano pieces. He composed a variety of works that demonstrated his ability to create expressive melodies and delicate harmonies, even outside the operatic framework. “Souvenance” is a perfect example of this.

The title itself, “Souvenance,” a somewhat archaic term meaning “remembrance” or “reminiscence,” immediately sets the tone. It suggests an atmosphere of nostalgia, intimate daydreaming, a kind of musical meditation on the past or on deep emotions. It is highly probable that Gounod wanted to capture a personal or universal feeling—a gentle and melancholic contemplation—through this piece.

The dedication to Monsieur Francis Deffell indicates a personal or professional relationship for Gounod. Unfortunately, the precise details of the relationship between Gounod and Deffell, and whether this dedication is linked to a specific event or a simple mark of esteem, are not widely documented. However, dedications were common at the time and often served to honor friends, patrons, students, or fellow musicians.

“Souvenance” may not have the grandeur or historical resonance of Gounod’s major operas, but it represents an important facet of his work: that of a composer capable of translating subtle emotions and poetic atmospheres through the language of the piano. As a nocturne, it follows in the lineage of works by Chopin or Field, offering a space for introspection and pure lyricism. It testifies to Gounod’s versatility and his talent for creating unforgettable melodies, even in smaller, more intimate forms. It is an invitation to slow down, to listen, and to be carried away by the gentle reminiscences it evokes.

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Episodes and Anecdotes

Although “Souvenance, CG 590” by Charles Gounod is a charming piano piece, it is far less documented in terms of specific anecdotes and episodes than his major operas like “Faust” or “Roméo et Juliette.” Salon pieces and solo piano works, even by famous composers, rarely left detailed traces in correspondence, diaries, or critiques of the time, unless an extraordinary event was linked to their creation or first public performance.

However, we can extrapolate a few probable “anecdotes” or “episodes” based on the context of the era and Gounod’s lifestyle:

The Silent Inspiration of the Parisian Salon:

Rather than a public anecdote, imagine Gounod, already famous in 1865, in the calm of his Parisian salon, or perhaps during a stay in the countryside. Surrounded by the comfortable bourgeois furniture of the time, he sits at the piano. The melody of “Souvenance” (remembrance) comes to mind, perhaps inspired by a peaceful landscape, a loved one’s face, or a fleeting emotion of nostalgia. Far from the turmoil of opera rehearsals, this piece would have been born from a moment of personal introspection, a contrast to the dramatic demands of his stage works. The anecdote here is the absence of a noisy one, revealing a more intimate part of the composer.

The Dedication to Francis Deffell: A Discreet Social Connection:

The dedication to Monsieur Francis Deffell, although we don’t know the details of their relationship, is a small episode in itself. Francis Deffell was likely a friend, an admirer, or perhaps a student of Gounod. One can imagine Gounod offering him the handwritten score, or one of the first editions, with a note of affection. Perhaps Deffell was a talented amateur pianist for whom Gounod wanted to create a piece at his level—a piece that could be played in private circles, without the pressure of a major public performance. This dedication highlights Gounod’s social network and musical friendships, often forged in Parisian salons.

Hundreds of “Premieres” in Salons:

Unlike an opera that has a single world “premiere,” “Souvenance” likely had hundreds, if not thousands, of “first performances” in private settings. Imagine a young bourgeois girl of the time, or a young man passionate about music, discovering the newly printed Gounod score. They sit at the piano and play the first notes of the nocturne, striving to capture the lyricism and gentleness of the melody. Every time a person discovered and played this piece, it was a personal “first episode,” an intimate immersion into Gounod’s musical universe. The anecdote is not that of the grand concert, but of the murmur of the piano in the intimacy of a home.

Relative Obscurity Compared to the Giants:

An anecdote, though sad for the piece, is its fate in comparison to Gounod’s major works. “Souvenance” was eclipsed by the immense success of his operas. One could tell the story of a smiling Gounod, perhaps a little amused, to see his “small” piano pieces relegated to the background by the public clamor surrounding “Faust.” This “anecdote” is a reflection on the hierarchy of genres at the time and how posterity sometimes chooses to remember certain works over others, even if the less famous ones are beautiful miniatures.

In short, the episodes and anecdotes surrounding “Souvenance” are more in the realm of evocation and deduction than of precise and publicized historical facts. They tell the story of music conceived for intimacy, personal pleasure, and discreet circulation within the private spheres of the 19th century.

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Style(s), Movement(s), and Period of Composition

To talk about the style of “Souvenance, CG 590” by Charles Gounod is to delve into the heart of French Romanticism of the mid–19th century.

The general style of “Souvenance” is resolutely and unequivocally Romantic.

Let’s analyze this in more detail:

Was it an Old or New Style at the time (1865)?

In 1865, the Romantic style was at its peak and was the “current” and dominant music. It was by no means “old.” Composers like Chopin (who died in 1849) had already defined the nocturne genre, and Gounod fully fits into this established and flourishing tradition. However, it is also not “revolutionary” in the sense that it doesn’t introduce a radical break with the harmonic or formal conventions of the time.

Traditional or Innovative?

“Souvenance” is a traditional work in its form and harmonic language, typical of the romantic nocturne. It is not innovative in the sense that it does not challenge the established conventions of the era. Gounod was not an audacious harmonic experimentalist like Liszt or Wagner. His genius lay in melodic elegance and the beauty of expression within established structures. It follows the “rules” of Romanticism without trying to break them.

Polyphony or Homophony?

“Souvenance” is primarily homophonic, which is characteristic of Romantic music. The melody (generally in the right hand) is clearly the dominant and main voice, supported by a subordinate harmonic accompaniment (generally in the left hand). Although there may be moments where the bass line gains some independence or where brief imitations occur, the texture is not primarily contrapuntal as in Baroque music or some Classical works. The beauty lies in the clarity of the melodic line and the richness of the harmony that accompanies it.

Classical, Romantic, Nationalist, Impressionist, or Post-Romantic?

• Romantic: Absolutely. This is the main category. The typical characteristics of Romanticism are omnipresent:
  • Lyricism: A singing and expressive melody is paramount.
  • Emotional Expressiveness: The music aims to evoke feelings (nostalgia, reverie, gentleness).
  • Rich and Colorful Harmony: Use of extended chords, expressive resolved dissonances.
  • Rubato: Flexibility of tempo for expression.
  • Free or Characterized Forms: The nocturne is a free and evocative form.
  • Subjectivity and Individualism: The piece invites introspection.
• Classical: No. While it may have a certain clarity of form and balance inherited from classicism, its harmonic language, its primacy of emotion, and its use of rubato place it firmly outside the Classical style.
• Nationalist: Not directly. Although Gounod was French, “Souvenance” contains no folkloric elements, patriotic themes, or musical characteristics specifically related to French popular music of the time. Its language is universally romantic.
• Impressionist: Absolutely not. Impressionism (with Debussy and Ravel) would emerge much later (late 19th, early 20th century) with completely different harmonic (parallel chords, exotic scales), melodic (less traditional lyricism, more suggestion), and timbral characteristics (blur, suggestive atmosphere). Gounod in 1865 is well before this revolution.
• Post-Romantic: No. Post-Romanticism (late 19th – early 20th century, with composers like Richard Strauss, Mahler, Rachmaninoff) is characterized by a dramatic intensification, massive orchestration, even more complex and sometimes dissonant harmonies, and longer, more ambitious forms. “Souvenance” is a concise and elegant chamber piece, not a monumental Post-Romantic work.

In conclusion, “Souvenance, CG 590” is a deeply romantic work, characterized by its melodic lyricism, expressive harmony, and contemplative atmosphere. It is a beautiful example of the homophonic and traditional style that dominated the musical scene in France in the mid–19th century.

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Similar Compositions

“Souvenance, CG 590” is a romantic nocturne for piano. To find similar compositions, one should look for other piano pieces of the same genre, from the same stylistic period, and ideally from composers who share a similar lyrical sensibility.

Here is a list of compositions and composers that could be considered similar to Gounod’s “Souvenance”:

1. Other Nocturnes by Romantics:
   • Frédéric Chopin: He is the undisputed master of the nocturne. If you enjoy the gentleness and lyricism of “Souvenance,” you’ll likely appreciate any of his 21 nocturnes.
     • Nocturne in E-flat Major, Op. 9 No. 2
     • Nocturne in C-sharp minor, Op. Posthumous
     • Nocturne in F-sharp Major, Op. 15 No. 2
   • John Field: He is considered the inventor of the nocturne. His pieces are simpler but very elegant.
     • Nocturne No. 5 in B-flat Major
   • Gabriel Fauré: Although slightly later and leaning toward a more refined romanticism, his nocturnes share a melodic and harmonic sensibility.
     • Nocturne No. 1 in E-flat minor, Op. 33 No. 1
   • Alexander Scriabin: Some of his early nocturnes (before his harmonic experimentations) may recall Gounod in their lyricism.
     • Nocturne for the Left Hand, Op. 9 No. 2
2. Other Piano Pieces by Charles Gounod himself:
   • Gounod wrote other piano works that share the same lyrical spirit and writing:
     • Six Romances sans paroles (Six Songs Without Words): These pieces are very similar to nocturnes in their melodic and expressive approach.
     • La Veneziana (Barcarolle), CG 593: Another character piece by Gounod, often characterized by a fluid melody and a wavy accompaniment.
     • Famous Melodies arranged for piano: His most popular opera arias, if faithfully arranged for piano, will have a similar melodic quality.
3. Salon Pieces and “Songs Without Words” by other French (and some other) composers:
   • Many composers of the era wrote short, melodic pieces for the piano, often intended for salons.
   • Félix Mendelssohn: His “Romances sans paroles” are the archetype of the genre and share the same melodic grace.
     • Romance sans paroles, Op. 19 No. 1 in E Major
     • Romance sans paroles, Op. 62 No. 6 “Spring Song”
   • Robert Schumann: Although often more complex, some of his “Fantasiestücke” or “Kinderszenen” can have a similar dreamy quality.
     • Kinderszenen (Scenes from Childhood), Op. 15 (especially “Träumerei”)
   • Cécile Chaminade: A French female composer known for her charming salon pieces.
     • Scarf Dance (La Lisonjera), Op. 37
   • Jules Massenet: Another French composer known for his vocal lyricism, which is also found in his piano works.
     • Élégie (arranged for solo piano)
     • Valse folle

These compositions share the same stylistic period (Romanticism), the same instrumentation (solo piano), and a sensibility focused on melody, the expression of intimate feelings, and rich harmony, which makes them very similar in spirit to Gounod’s “Souvenance.”

(This article was generated by Gemini. And it’s just a reference document for discovering music you don’t know yet.)

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