Germaine Tailleferre: Partita pour piano (1957)

Germaine Tailleferre (1892-1983): Partita, per pianoforte (1957).
Cristina Ariagno, pianoforte.
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[@MegaCirse]

Germaine Tailleferre traite le piano dans la partition de la même façon que la harpe dans sa "sonate pour harpe", mouvement lent et perpétuel dans un mélange d'harmonie acre et semi-douce qui est tonale et pourtant continuellement non résolue. Je trouve que cela est une approche intéressante pour le dilemme de la question tonale vs non tonale que beaucoup de compositeurs ont débattu depuis le début du XXe siècle. Cependant, nous ne devrions jamais perdre de vue sa musicalité innée et à tout moment merveilleuse dans cette composition !.

[@tempusestiocundum3549]

Such a beautiful fine work 👏🎹🎶💙and very good played👏👏👏

[@bobhourigan7626]

Beautiful.

[@melanielopezmusic]

Two ignorant people gave dislike to this piece. 😑

[@jackgedzelman5314]

Taillefere treats the piano in the partitia very similarly the harp in the harp sonata, a slow perpetual motion in a mixture of acrid and semi sweet harmony that is at all times tonal, and yet continually unresolved. I find this an interesting approach to the dilemma of the tonal vs non tonal question that many composers have been grappling with since the early part of the 20th century. However, we should not ever lose sight of her innate and at all times wonderful musicality in this compostion

[@nonenoneonenonenone]

I think it is the influence of Satie, as well as Cocteau, and those elements are there for reasons other than that of tonality. She did explore bitonality, which produces those tastes, but she was also a tapestry artist, and her patterns reflect that.

[@jackgedzelman5314]

Every creative event in this universe is a snowflake- always sharing commonality with everything else and yet unique. What is striking to me is the way Tailleferre mixes the bitter memories and experiences of life with the sweet ones. The more she lived, the more she mixed into the core of early Faure evident in her earliest works an acidity that is the destiny of most if not all of us as we age- the awareness of the sufferings and griefs and tragedies of our corporate and individual existences

[@peterrazumnov5706]

I feel definitely the same about her music. It really combines sweetness and bitterness so well.

[@andrewpetersen5272]

Tragedies? I guess a few of us live happily without carrying them about.

[@nohaylamujer]

This one is truly Poulenc-ish. Delightful, by the way.

[@sitarnut]

...and a Nod to Erik Satie on others.....

[@annulrsolformrkelse4023]

00:01 i. Perpetuum Mobile (Allegretto)
02:50 ii. Notturno (Andantino)
05:43 iii. Allegramente (Allegro)

[@ishtar2848]

Merci!

[@annulrsolformrkelse4023]

@@ishtar2848 De rien! :))

[@penelopewhite5994]

Rather listen to Shoenberg for dissonant harmony? Bravo Germaine!!!

[@jean-bernarddartigolles7460]

Art de la délicatesse et de l’harmonie françaises.