<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://www.w3.org/2002/07/owl#sameAs>	<http://digital.philharmoniedeparis.fr/doc/CIMU/1013620> .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://www.w3.org/2000/01/rdf-schema#comment>	"Le succ\u00E8s des \"sept chansons populaires espagnoles\" conduisit Manuel de Falla \u00E0 en r\u00E9aliser une version purement instrumentale. Avec la collaboration du violoniste Paul Kochansky, la partie vocale originale, typique du \"cante jondo\" andalou, y est transpos\u00E9e en de brillants traits violonistiques. L'ordre des morceaux est modifi\u00E9, le second (Seguidilla murciana) supprim\u00E9. Le violoncelliste Maurice Mar\u00E9chal transposera \u00E0 son tour pour violoncelle cette version instrumentale.Contient : 1- El pa\u00F1o moruno ; 2- Asturiana ; 3- Jota ; Nana ; 4- Canci\u00F3n ; 5- Polo"@fr .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://erlangen-crm.org/current/P3_has_note>	"Cette oeuvre a \u00E9t\u00E9 publi\u00E9e par Max Eschig \u00E0 Paris, en 1925"@fr .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://erlangen-crm.org/current/P102_has_title>	"Suite populaire espagnole" .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://www.w3.org/1999/02/22-rdf-syntax-ns#type>	<http://www.w3.org/ns/prov#Entity> .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://data.doremus.org/ontology#U4_had_princeps_publication>	<http://data.doremus.org/event/8a928681-c33b-38ba-8e64-3d73bdade620> .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://www.w3.org/2000/01/rdf-schema#label>	"Suite populaire espagnole" .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://data.doremus.org/ontology#U12_has_genre>	<http://data.doremus.org/vocabulary/diabolo/genre/musique_de_chambre> .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://data.doremus.org/ontology#U71_has_uniform_title>	"Suite populaire espagnole. Violon, piano" .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://www.w3.org/ns/prov#wasGeneratedBy>	<http://data.doremus.org/activity/5616c691-498e-39dd-a17c-31afb1e300cb> .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://www.w3.org/ns/prov#wasDerivedFrom>	<http://data.doremus.org/source/philharmonie/1013619> .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://www.w3.org/2000/01/rdf-schema#label>	"Suite populaire espagnole. Violon, piano" .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://data.doremus.org/ontology#U13_has_casting>	<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09/casting/1> .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://purl.org/dc/elements/1.1/identifier>	"1013620" .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://www.w3.org/ns/prov#wasDerivedFrom>	<http://data.doremus.org/source/philharmonie/1013620> .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://www.w3.org/ns/prov#wasGeneratedBy>	<http://data.doremus.org/activity/2c99e11b-0f47-3fb3-9420-ec253386ed42> .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://www.w3.org/1999/02/22-rdf-syntax-ns#type>	<http://erlangen-crm.org/efrbroo/F22_Self-Contained_Expression> .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://www.w3.org/ns/prov#wasAttributedTo>	<http://data.doremus.org/organization/DOREMUS> .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://data.doremus.org/ontology#U12_has_genre>	<http://data.doremus.org/vocabulary/iaml/genre/su> .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://erlangen-crm.org/current/P3_has_note>	"Le succ\u00E8s des \"sept chansons populaires espagnoles\" conduisit Manuel de Falla \u00E0 en r\u00E9aliser une version purement instrumentale. Avec la collaboration du violoniste Paul Kochansky, la partie vocale originale, typique du \"cante jondo\" andalou, y est transpos\u00E9e en de brillants traits violonistiques. L'ordre des morceaux est modifi\u00E9, le second (Seguidilla murciana) supprim\u00E9. Le violoncelliste Maurice Mar\u00E9chal transposera \u00E0 son tour pour violoncelle cette version instrumentale.Contient : 1- El pa\u00F1o moruno ; 2- Asturiana ; 3- Jota ; Nana ; 4- Canci\u00F3n ; 5- Polo"@fr .
<http://data.doremus.org/expression/338798ce-b3a4-37e1-8933-b38c4168cd09>	<http://www.w3.org/2000/01/rdf-schema#comment>	"Cette oeuvre a \u00E9t\u00E9 publi\u00E9e par Max Eschig \u00E0 Paris, en 1925"@fr .