 | Satie, Erik - "Tyrolienne turque" from "Croquis & Agaceries" for Flute & Piano. Flute et Piano |
VoirPDF : "Tyrolienne turque" from "Croquis & Agaceries" for Flûte & Piano. (5 pages - 357.95 Ko)40x⬇ VoirPDF : Flûte (66.17 Ko) VoirPDF : Piano (77.42 Ko) VoirPDF : Conducteur complet (314.59 Ko) MP3 : "Tyrolienne turque" from "Croquis & Agaceries" for Flute & Piano. 6x⬇ 97x
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| Compositeur : | Satie, Erik (1866 - 1925) | ||||
| Instrumentation : | Flute et Piano | ||||
| Genre : | Romantique | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 20 Sep 2023 Eric Alfred Leslie Satie (1866 – 1925), who signed his name Erik Satie after 1884, was a French composer and pianist. He was the son of a French father and a British mother. He studied at the Paris Conservatoire, but was an undistinguished student and obtained no diploma. In the 1880s he worked as a pianist in café-cabaret in Montmartre, Paris, and began composing works, mostly for solo piano, such as his Gymnopédies and Gnossiennes. He also wrote music for a Rosicrucian sect to which he was briefly attached. In the view of the Oxford Dictionary of Music, Satie's importance lay in "directing a new generation of French composers away from Wagner?influenced impressionism towards a leaner, more epigrammatic style". Debussy christened him "the precursor" because of his early harmonic innovations. Satie summed up his musical philosophy in 1917: "To have a feeling for harmony is to have a feeling for tonality… the melody is the Idea, the outline; as much as it is the form and the subject matter of a work. The harmony is an illumination, an exhibition of the object, its reflection.". Chapitres tournés en tous sens (Chapters Turned Every Which Way) is a 1913 piano composition by Erik Satie. One of his humoristic keyboard suites of the 1910s, it was published by the firm E. Demets that year. Ricardo Viñes gave the premiere at the Salle Erard in Paris on January 14, 1914. Satie announced the title of this suite as an upcoming project in his April 1913 advertisement in the periodical Le Guide du concert, although he did not begin sketching the music until late August. On September 16 he wrote to his protégé Alexis Roland-Manuel with ironic bluster, "I have just completed the Chapitres tournés en tous sens. I consider this a great triumph". As with most of Satie's piano suites from this time, the Chapitres is a trilogy of unrelated pieces. The melodic lines are kept simple through the borrowings from operettas and children's songs, but backed up by Satie's unique and often experimental harmonic sense. "Croquis et agaceries d'un gros bonhomme en bois" (Sketches and Agaceries of a Big Wooden Man) is a collection of three piano pieces by Erik Satie,composed in 1913. The score was published the same year by Eugène Demets and premiered by the pianist Ricardo Viñes at the Salle Pleyel on March 28, 1914, during a concert of the National Music Society. Both admirers of Chabrier, Satie and Ravel paid homage to him in a roundabout way, in 1913. Vladimir Jankélévitch recommends reading carefully "the malice-free parody that Ravel writes in the style of Emmanuel Chabrier". Satie, who specializes in "parodies and caricatures of an author or a work", takes up España in the same spirit, in these Sketches and Agaceries of a Big Wooden Man. The first piece in the collection, "Tyrolienne turque" (Turkish Tyrolienne), presents twisted echoes of Mozart's "Favorite Waltz" and his Turkish March, while the second piece, Dance Meager, mixes some singing motifs (in the manner of the Airs to Frighten Cold Pieces ) to small ostinatos. After these two pieces with a rather slow tempo, comes the last piece with a waltz rhythm, Españaña, which makes fun of (even in its title, mistreating España) the popular Spanish rhythms ofChabrier, Bizet or Ravel. Thus, "a quote from Chabrier’s España is carried from the "Puerta Maillot" to the "Rue de Madrid", passing through the "Plaza Clichy"; it is at the address of the Conservatory note, of course, that it is harmonized with the most platitude". Source: Wikipedia (https://fr.wikipedia.org/wiki/Croquis_et_Agaceries_d%2 7un_gros_bonhomme_en_bois). Although originally composed for Solo Piano, I created this Interpretation of "Tyrolienne turque" (Turkish Tyrolean) from "Croquis & Agaceries D'un Gros Bonhomme En Bois" (Sketch & Teasing Of A Big Wooden Man) for Flute and Piano. Partition centrale : | Croquis et agaceries d'un gros bonhomme en bois (2 partitions) | | |||
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