Antoine Tisné

Antoine Tisné - prolific work of a musical Humanist

Claude Bonneton With The ORTF Chamber Orchestra Play Music Of Antoine Tisné – 1965 – Past Daily Weekend Gramophone

Antoine Tisné
Antoine Tisné – prolific work of a musical Humanist

Antoine Tisné – Piano Concerto Nr. 3 – Claude Bonneton, Piano – ORTF Chamber Orch. Claude Hartemann, cond – 1965 ORTF Studio recording – Gordon Skene Sound Collection –

Heading into more experimental country this week with a radio broadcast performance, possibly the premier recording of the 3rd Piano Concerto by Antoine Tisné, performed by Pianist Claude Bonneton and the ORTF Chamber Orchestra, conducted by Claude Hartemann.

Tisné was a very prolific composer, though probably not all that well known outside musical circles or enthusiasists of later 20th century music.

During his lifetime (from 1932 until his death in 1998) Tisné composed some 300 works for a wide variety of musical settings, from Chamber and solo works to symphonic pieces. His music has been recorded by several ensembles around the world as well as being the recipient of numerous awards during his career.

The work of Antoine Tisné is that of a humanist for whom the procedures of compositions are only a tool intended to restore at best the explorations of his imaginary without being in itself the essential generator of the composed works. New technologies, if he knows how to appreciate them, do not enter into his thought pattern as a deliberate substitute for inspiration or as an alternative to a musical discourse that he likes to be imbued with spirituality. The work of Antoine Tisné is resolutely expressive and does not need to be, at the moment of its interpretation, followed or even preceded by explanatory comments.

As his entry in Wikipedia puts it:

One enters the world of Tisné as one enters into that of a painter or even more perhaps into that of an architect by its spatial dimension and its quasi-telluric energy. Antoine Tisné is a musician of spaces. These spaces or fields ignore emptiness; they are charged spiritually, affectively, historically, whether real or purely dreamlike, so long as one can define in this profusion the solution of continuity between the real and the unreal. But his world is ours too.

This recording of the piano concerto was made shortly after its world premier. I do not think it’s been available outside of this broadcast performance. As for a commercial recording of the concerto, it is somewhat doubtful.

Click on the player and make a discovery.

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