EstienneduTertre (mid-16th century) was a French composer.
He is the man after whom the Place duTertre in Paris, France is named.
EstienneduTertre published suyttes de bransles in 1557, giving us the first use of the term, although the usual form of the time was as pairs of dances.
The first Scottish branle has musical phrases of 2 bars, the second phrases of 2 and 3 bars.
Two examples of music called the Scottish Branle by EstienneduTertre, however, appear in 3/4 time.
Furthermore, despite a similarity in structure for one of these branles, the precise choreography given by Arbeau could not be danced to this music even if the music were in 4/4.
en.wikipedia.org /wiki/Branle (783 words)
Estienne du Tertre(Site not responding. Last check: 2007-10-23)
EstienneduTertre (mid- 16th century) was a French composer.
He spent most of his in Paris and worked as an editor for publisher Attaingnant.
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The practice of pairing dances goes back at least to the 14th century, but the earliest known groups called 'suite' are suyttes de bransles by EstienneduTertre (1557).
The gigue enjoyed only scattered acceptance when it began to appear in suite formations after 1650, and at first it rarely assumed its classical position at the end.
Independence from dance forms means that the genre can be said to encompass works to which the title 'suite' was not given, including Schumann's piano cycles, Schönberg's Five Orchestral Pieces and Stockhausen's Momente.
Of them, the best-known come from the books of dance music produced by Attaingnant and his successors in Paris or Lyons: Claude Gervaise, EstienneDuTertre, Jacques Moderne and the Le Roy and Ballard printing dynasty.
Of its various forms, distinguished by their manner of dancing and their phrase structure, the Bransles d'Escosse, published in one of DuTertre's series, was a version which arrived in France in the 1550s via the court of Mary, Queen of Scots.
The Bransle de chevaux was classified by the dancing-master Thoinot Arbeau as one of the "mimed" (morgué) kinds, found particularly in court masquerades.
EstienneduTertre Septieme livre de danceries, 1557 (bagpipes)
In similar fashion, the simple, anonymous tune that opened our concert, entitled "Une jeune fillette" in France and "La Monica" in Italy, served the playful imaginations of composers, particularly the French Eustace du Caurroy.
His fantasies on this borrowed tune, heard in the second half of our concert, are a tour de force of inventive instrumental writing around the tune, which is heard straightforwardly in the top line in three of the settings, and passed around the other voices in the remaining two.
This selection is part of a medley which shares track and timing with DuTertre's "Galliard no 1", a second anonymous galliard from the Lumley books, another from Attaignant's second book of dances, and Gervaise's "Fin de Galliard".
This selection is part of a medley which shares track and timing with DuTertre's "Galliard no 1", two anonymous galliards from the Lumley books, and Gervaise's "Fin de Galliard".
This selection is part of a medley which shares track and timing with DuTertre's "Galliard no 1", two anonymous galliards from the Lumley books, and another from Attaignant's second book of dances.
Ascent (revised version 1997) on ‘Cultures Electroniques 10’, Le chant du monde, (CD) LDC 278063/64
Time and Fire on ‘Cultures Electroniques 6’, Le chant du monde, (CD) LDC 278053/54
'Thematic Difference and Process in Brahms's Third Symphony: a Study in Cognitive Semiology' In: Analyse et création musicales: Actes du Troisieme Congrès Européen d'Analyse Musicale: Montpellier 1995 (Paris 2001) pp.
Time and Fire ar ‘Cultures Electroniques 6’, Le chant du monde, (CD) LDC 278053/54
Arrivals ar ‘Cultures Electroniques 4’, Le chant du monde, (CD) LDC 278049/50
'Thematic Difference and Process in Brahms's Third Symphony: a Study in Cognitive Semiology' Yn: Analyse et création musicales: Actes du Troisieme Congrès Européen d'Analyse Musicale: Montpellier 1995 (Paris 2001) tt.
