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Zen Virtual Pianoలో Jean-Baptiste Weckerlin రూపొందించిన piano sheets చూడండి. In 1843, after two years in his father's dye works, having come to dislike the family industry, Weckerlin decided to devote himself to music. He had learned music mostly on his own and fled to Paris that year to follow the teaching of the Conservatoire. Even without having studied harmony, he played most of the orchestral instruments and composed each day in his chemistry room at a large harpsichord. A young man leaving a family business for the Conservatoire suggests how strong the pull of music was, even against his parents' plans, and that his training began outside the usual route. He was the eldest son of a dyer and cotton cloth manufacturer and grew up in a comfortable middle-class family in Guebwiller that meant him to succeed in industry. A great music lover, he often hosted musical gatherings at home. In Paris he lived on lessons, directed various choirs and, in 1849, helped François Jean Baptiste Seghers found the Société Sainte-Cécile, whose chorus he directed for five years. A host of home concerts who became a choir director hints at a musician for whom performing together was as important as composing, and who built a life around choirs and gatherings. In 1853, after publishing a few romances, he had a first success at the Théâtre-Lyrique with a one-act comic opera, L'Organiste dans l'embarras, which ran for over a hundred performances. The Bibliothèque nationale's dictionary says he is hardly remembered as a composer, although he wrote choral, stage, orchestral, piano and chamber works and above all hundreds of songs, some his own and some arranged from popular motifs. A stage hit of more than a hundred performances that history has largely forgotten suggests how a composer's lasting name can differ from his early success, since the stage hit is not what he is remembered for today. Above all a melodist, he is remembered as a folklorist, whose harmonizations and piano arrangements popularized the old pieces he restored, especially his bergerettes. After the 1851 decree prescribing a search for songs across the provinces of France, he made an enormous effort that led to his collection Chants et chansons populaires des provinces de France, published with the help of Champfleury. He also published a two-volume history of Chansons populaires de France, Chansons populaires d'Alsace and the three-volume Musiciana, gathering facts and remarks from his research. His Histoire de l'instrumentation won the gold medal of the Académie in 1875. A collector who turned a government call for songs into published volumes suggests how much he valued preserving old tunes in a form others could sing, and that his collecting was a serious, sustained task.
Zen Virtual Pianoలో Jean-Baptiste Weckerlin రూపొందించిన piano sheets చూడండి.
In 1843, after two years in his father's dye works, having come to dislike the family industry, Weckerlin decided to devote himself to music. He had learned music mostly on his own and fled to Paris that year to follow the teaching of the Conservatoire. Even without having studied harmony, he played most of the orchestral instruments and composed each day in his chemistry room at a large harpsichord. A young man leaving a family business for the Conservatoire suggests how strong the pull of music was, even against his parents' plans, and that his training began outside the usual route.
He was the eldest son of a dyer and cotton cloth manufacturer and grew up in a comfortable middle-class family in Guebwiller that meant him to succeed in industry. A great music lover, he often hosted musical gatherings at home. In Paris he lived on lessons, directed various choirs and, in 1849, helped François Jean Baptiste Seghers found the Société Sainte-Cécile, whose chorus he directed for five years. A host of home concerts who became a choir director hints at a musician for whom performing together was as important as composing, and who built a life around choirs and gatherings.
In 1853, after publishing a few romances, he had a first success at the Théâtre-Lyrique with a one-act comic opera, L'Organiste dans l'embarras, which ran for over a hundred performances. The Bibliothèque nationale's dictionary says he is hardly remembered as a composer, although he wrote choral, stage, orchestral, piano and chamber works and above all hundreds of songs, some his own and some arranged from popular motifs. A stage hit of more than a hundred performances that history has largely forgotten suggests how a composer's lasting name can differ from his early success, since the stage hit is not what he is remembered for today.
Above all a melodist, he is remembered as a folklorist, whose harmonizations and piano arrangements popularized the old pieces he restored, especially his bergerettes. After the 1851 decree prescribing a search for songs across the provinces of France, he made an enormous effort that led to his collection Chants et chansons populaires des provinces de France, published with the help of Champfleury. He also published a two-volume history of Chansons populaires de France, Chansons populaires d'Alsace and the three-volume Musiciana, gathering facts and remarks from his research. His Histoire de l'instrumentation won the gold medal of the Académie in 1875. A collector who turned a government call for songs into published volumes suggests how much he valued preserving old tunes in a form others could sing, and that his collecting was a serious, sustained task.
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