Julien Tiersot Vídeos
compositor, musicólogo, etnomusicólogo, bibliotecario, antropólogo
- Francia
Última actualización
2024-05-09
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Tchaikovsky Modest Tchaikovsky René Chansarel Félix Louis Diémer Julien Tiersot 1871 1872 1874 1875 1876 1886 1900 1910 1946 2006
Tchaikovsky: Two Pieces for solo piano, Op. 10 (1872) I. Nocturne. Andante cantabile (F major) The Two Pieces (Deux morceaux) for solo piano, Op. 10 (TH 132 ; ČW 110 and 111), were written during the three weeks that Tchaikovsky spent in Nice around the start of 1872. A complete performance lasts approximately 7 minutes. Composition: According to Modest Tchaikovsky these two pieces were written between 24 December 1871/5 January 1872 and 29 January/10 February 1872 while the composer was staying in Nice, and the theme of the middle section of the Humoresque (No. 2) is based on the old French song 'La fille aux oranges', which Tchaikovsky heard in the French resort. Arrangements: In December 1876 the author arranged the Humoresque (No. 2) for violin with piano, at the request of Nadezhda von Meck. Performances: Nocturne (No. 1) was played in Tiflis, at a special RMS symphony concert on 19 April/1 May 1886, by Gennady Korganov. In France, the Humoresque (No. 2) was among Tchaikovsky's most-performed piano pieces before 1900, even though no-one appears to have noticed the quotation of a provençal song. The earliest public performance was by René Chansarel who played it at Félix Mackar's first "audition" on 2/14 January 1886. Louis Diémer interpreted the Humoresque on several occasions: Publication: The pieces were first published separately (in 1874 and 1875 respectively) by Pyotr Jurgenson, and were only printed together for the first time in February 1876. They were included in volume 51Б of Tchaikovsky's Complete Collected Works, edited by Ivan Shishov (1946). Autographs: The composer's manuscript scores of both pieces are now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 110). Dedications: Both pieces are dedicated to Tchaikovsky's friend Vladimir Shilovsky. Related Works: As mentioned above, Modest Tchaikovsky stated that the Humoresque (No. 2) used a popular song heard in Nice. Its title remained unknown until 2006, when it was identified as “La fille aux oranges”. Belonging to the regional folklore of Provence, the song, a dialogued dance ("ronde dialoguée") in the dialect of Southern France, was published only in 1910 by the musicologist Julien Tiersot. Thus, Tchaikovsky was the first to pay attention to this ethnological source, which he used in his Humoresque with slight differences from Tiersot's version.
Julien Tiersot Couperin 1928 1930 2011
Provided to YouTube by NAXOS of America Pieces de clavecin, Book 4: 20th Ordre in G Major-minor: Les Tambourins (arr. J. Tiersot) · Lucien Fugere Lucien Fugere +••.••(...)) ℗ 2011 Symposium Released on: 2011-01-04 Artist: Lucien Fugere Artist: Studio pianist Composer: Francois Couperin Composer: Julien Tiersot Auto-generated by YouTube.
Sperry Hobson Julien Tiersot 2014
Provided to YouTube by NAXOS of America L'amour de moi · Paul Sperry Great Composers Love Folk Songs Too ℗ 2014 Zephyr Records Released on: 2014-02-01 Artist: Ian Hobson Artist: Paul Sperry Composer: Julien Tiersot Auto-generated by YouTube.
Here is a little historical background on these two tunes (a big thank you to Maxou Heintzen for his research!) Polka Ladonne was introduced by the Ladonne family, which represented three generations of cabrette (Auvergne bagpipe) players. While originally from the Auvergne region of France they eventually established themselves in Paris where they continued to share their repertoire and created the 'bal-musette.' Polka de Jenzat was discovered by French musicologist Julien Tiersot in the 1930s; he visited the village of Jenzat and recorded many traditional tunes into a book (La chanson populaire et les écrivains romantiques). Polka de Jenzat can be found among the tunes collected there. *Please see David Bawden's comment on the village of Jenzat to learn how it's related to the vielle a roue. I love to come up with second voices; a pianist by trade, I've always been fascinated by several independent melody lines working together to create beautiful harmony, as we see the music of J. S. Bach, for example. So it's fun to potter about with various second voices that could be played as a counterpoint to the main tune. Hope you enjoy! For more music: www.maryvanhoozer.com
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- cronología: Compositores (Europa).
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