3rd EDITION 6-8 NOV 2026
FIN DE SIÈCLE
Europe at the turn of the 20th century
3rd EDITION 6-8 NOV 2026
FIN DE SIÈCLE
Europe at the turn of the 20th century
FRIDAY 6 NOV 2026
7PM Raffles Hotel-Le Royal
Grand Opening PIANO 4HANDS
SATURDAY 7 NOV 2026
7PM Raffles Hotel-Le Royal
Song Recital
SUNDAY 8 NOV 2026
7PM Raffles Hotel-Le Royal
Finale – A Piano Recital
SUNDAY 8 NOV 2026
RAFFLES HOTEL-LE ROYAL
6 PM PRE-CONCERT TALK – At the Concert Hall
Prof. Dr. Monika Hennemann
Musicologist, Cardiff University School of Music, Wales
Enrich your concert experience with insights
into the music, background information on the works,
and the lives of the composers.
………………………………………
7PM CONCERT – FINALE, A PIANO RRECITAL
RAFFLES HOTEL-LE ROYAL
Rong Sereyvann-piano
INTRODUCTION
TRIBUTE TO KING SOSOWATH 1906
King Sisowath’s journey to France in 1906 remains a significant moment in the history of Cambodian-European relations, remembered for its cultural diplomacy and its role in introducing Khmer classical arts to the Western world. The king’s trip aimed to demonstrate loyalty to France while also fostering goodwill and raising awareness of Cambodia’s rich cultural heritage.
A defining moment of the visit were the Khmer Royal Ballet’s performances at the Colonial Exhibition in Marseille. These performances profoundly influenced European artists and intellectuals. Notably, the famous painter Auguste Rodin sketched the dancers extensively. For Cambodia, the visit symbolized a blending of reverence for tradition and adaptation to modernity.
PROGRAM
ERIC SATIE
(1866-1925)
1st Gymnopédie (1888)
Lent (from » 3 Gymnopédies « )
Eric Satie is often connected with minimalism and the fin de siècle cultural atmosphere around 1900.
His music uses simple melodies, slow harmonies, and repeating patterns, creating a calm and clear sound that anticipates later minimalist styles. At the same time, works like Gymnopédie No. 1 reflect the introspective and slightly melancholic mood typical of the fin de siècle period in European art and culture
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CLAUDE DEBUSSY
(1862-1918)
Deux Arabesques 1888 and 1890/91
1. Andantino con moto
2. Allegretto scherzando
Claude Debussy became one of the composers who helped shape the transition from Romanticism to modern musical aesthetics. His work captured the spirit of the fin de siècle: a moment when artists were turning away from the past and exploring new possibilities for expression, sound, and artistic imagination.
Deux Arabesques are among Debussy’s earliest well-known compositions and already reveal the graceful, fluid musical language that would later define his style. The title “arabesque” refers to decorative artistic patterns made of flowing, interlacing lines, and Debussy translates this visual idea into music through elegant melodic curves and delicate accompaniment figures.
Arabesque No. 1 in E major, is the more famous of the two. It has a light, shimmering character with gentle arpeggios in the left hand and a lyrical melody that seems to float above them. The music creates a calm and graceful atmosphere, and its smooth, wave-like motion gives the impression of continuous movement. Because of its beauty and moderate technical demands, it is often one of the first Debussy works studied by piano students.
Arabesque No. 2 in G major, contrasts with the first by being more lively and playful. It features clearer rhythmic patterns, lighter articulation, and more energetic gestures. While still elegant and decorative in character, it introduces a brighter, slightly more animated mood and requires more rhythmic precision from the performer.
Together, the two Arabesques show Debussy experimenting with color, texture, and musical line. Although they were written before he fully developed the style heard later in works such as Clair de Lune, they already hint at the atmospheric qualities associated with musical Impressionism. The flowing melodies, delicate harmonies, and sense of freedom in rhythm make Deux Arabesques an important early step in Debussy’s artistic development and a beloved part of the piano repertoire
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Valse Romantique (1890)
to Mademoiselle Rose Depecker
Valse romantique represents a transitional stage in Debussy’s artistic development. It shows a young composer working within the established Romantic style while gradually moving toward a new musical language characterized by color, nuance, and atmospheric expression. Even within the familiar form of the waltz, Debussy shapes the music with elegance and sensitivity, suggesting the individuality and imaginative approach that would later make him one of the most influential composers of the early twentieth century.
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MAURICE RAVEL
(1875-1937)
Sonatine pour piano (comp.1903-1905)
1. Modéré
2. Mouvement de menuet
3. Animé
The Sonatine, was written between 1903 and 1905. Despite its modest title, the work is a sophisticated and finely crafted example of Ravel’s compositional style, combining classical clarity with the subtle harmonic colors typical of early twentieth-century French music. The piece reflects Ravel’s admiration for traditional forms while also demonstrating his precise control of texture, balance, and musical detail.
Ravel did perform his Sonatine, although he was not primarily known as a virtuoso concert pianist. Ravel was capable at the piano and often played his own works in private performances, salons, and smaller concert settings.
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CLAUDE DEBUSSY
Clair de lune
Andante très expressive
(#3 »Suite Bergamasque«, 1890-1905)
A famous piano piece by the French composer Claude Debussy. It is the third movement of his piano suite Suite bergamasque, composed around 1890 and published in 1905. The title means “moonlight” in French and was inspired by the poem Clair de lune written by Paul Verlaine.
The music is written for solo piano and is one of the best-known examples of musical Impressionism. Debussy creates a soft, dreamlike atmosphere through gentle dynamics, flowing rhythms, and rich harmonies. The piece is in D-flat major and marked Andante très expressif, which means it should be played slowly and very expressively.
“Clair de lune” is widely loved for its calm and reflective mood and has become one of the most recognizable piano works in classical music. It is frequently performed in concerts and has appeared in many films, television programs, and recordings by famous pianists. The piece evokes the quiet beauty of moonlight and shows Debussy’s unique ability to paint images and emotions through sound.
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Pagodes
(1st part of the cycle »Estampes« ,1903)
“Pagodes” is the first movement of his piano collection Estampes, published in 1903. The title “Pagodes” refers to the multi-tiered temple towers found in East and some regions of Southeast Asia.
Debussy was certainly fascinated by Asian culture (as most artists in Paris at the turn of the century did as well). In “Pagodes”, he elaborates three layers, as there are a) the main percussive markings (also related chordal resonances) in low regions, b) a melodic core section and c) ornamental lines, realized through special piano techniques. The dominance of pentatonic elements is not as often mentioned influenced by Southeast Asian music, as pentatonic elements are somewhat “transcultural” and can even be found in Gregorian chant as well.
Seen from that point of view, it is a typical so-called “pastiche” of the time, similar to his Spanish orientated pieces like for example “La soirée dans Grenade“ (Evening in Granada), the second piece from the same cycle, or “General Lavine Eccentric” from the 2nd volume of the “Preludes”. A pastiche is more a vision of something far away and has not really a certain concrete relationship.
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ERIC SATIE
1st Gnossienne
Lent (from 6 Gnossiennes, 1889/90)
Sonatine Bureaucratique (1917)
(#3 »Suite Bergamasque«, 1890-1905)
Allegro
Andante
Vivace
Unlike many classical piano works, Gnossienne No. 1 has no time signature and no bar lines in the original score. This gives the music a very free, flowing rhythm, allowing the performer to shape the tempo naturally. Satie also included unusual performance instructions in French such as “Lent” (slow) and poetic directions like “Avec étonnement” (“with astonishment”).
The music is built around a simple, repeating melodic line over dark, hypnotic harmonies. The harmony often uses modal scales, which gives the piece an ancient, mysterious character. Because of this, the piece feels meditative and slightly haunting.
The title Gnossienne may be connected to Knossos, the ancient city on the island of Crete, suggesting a link to Greek mythology or archaic ritual dances, although Satie never clearly explained the name.
Today, Gnossienne No. 1 is one of Satie’s most recognizable piano works, along with his Gymnopédies.
Its calm, introspective mood and minimalist style influenced many later composers and continues to be widely performed and recorded.
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NORODOM SIHANOUK
(1922-2012)
Reatry Choub Phaek composed 1960th 2
(1922–2012), the former king of Cambodia, was not only known as a political leader but also as a passionate musician and composer. Throughout his life, especially from the 1940s to the 1970s, he wrote many musical pieces and songs. His music was influenced by several styles, including jazz, classical music, and French romantic chanson, which were popular during his youth. At the same time, his compositions often reflected Cambodian culture and landscapes.
Sihanouk played several musical instruments, including the saxophone, piano, and clarinet. Music was an important personal hobby for him, and he often performed or conducted orchestras at cultural events and official gatherings. His compositions frequently expressed themes of nostalgia, love, and admiration for the beauty of Cambodia.
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Him Sophy
Country Side evening
Him Sophy (born 1956) is an important contemporary composer from and one of the key figures in modern Cambodian classical music. He is known for combining traditional Khmer musical elements with Western classical composition techniques, creating a unique style that reflects both Cambodia’s cultural heritage and modern musical ideas.
Him Sophy studied music at the Royal University of Fine Arts in Phnom Penh, where he later became a teacher and helped train new generations of Cambodian musicians and composers. After the difficult period of the Khmer Rouge era, he played a significant role in reviving Cambodia’s classical and orchestral music scene.
His compositions often draw inspiration from Cambodian history, literature, and traditional instruments. At the same time, he uses Western orchestral forms such as symphonies, chamber music, and choral works. Because of this combination, his music is sometimes described as a bridge between Khmer tradition and modern global classical music.
Among his notable works are orchestral and vocal compositions that highlight Cambodian themes and stories. His music has been performed both in Cambodia and internationally, helping introduce Cambodian contemporary music to audiences around the world. Through his teaching, composing, and cultural work, Him Sophy has contributed greatly to the preservation and development of Cambodian music in the modern era
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Cambodian Folk tunes
Cambodian folk tunes are traditional melodies that come from the rural and cultural life of Cambodia. They have been passed down orally for many generations and are closely connected with festivals, farming life, love stories, and local traditions. These tunes are an important part of Khmer cultural identity and are often performed with traditional instruments.
Many Cambodian folk melodies use instruments such as the tro (a bowed string instrument), the roneat (a type of xylophone), traditional drums, and flutes. The music usually has gentle, flowing melodies and rhythms that accompany singing or dancing. Folk songs are commonly performed during celebrations like the Khmer New Year, weddings, and village gatherings.
Typical themes in Cambodian folk tunes include romantic love, nature, daily village life, and respect for family and ancestors. The lyrics often describe rice fields, rivers, flowers, and the beauty of the Cambodian countryside. Because these songs are easy to sing and remember, they are often shared within communities and learned from older generations.
HSome well-known styles of Cambodian folk music include wedding songs, harvest songs, and dance music used for traditional dances such as the romvong and romkbach. These melodies usually follow repeating patterns that allow people to dance in circles or pairs.
Even today, Cambodian folk tunes continue to influence modern Cambodian music. Many contemporary musicians adapt traditional melodies and combine them with modern instruments, helping preserve this musical heritage while introducing it to new audiences.