Tag Archives: Paris


horreur j’ai râté le début, il y a pas la musique gggrrrrrr !!!
Je vous prie de bien vouloir m’en excuser, je sais pas ce qu’il s’est passé, je l’ai fait vite ce matin parce que après pas le temps.
Ben voilà je voulais juste vous faire plaisir, pffff !!!!

Une petite Vidéo pour vous souhaiter, petits et grands de très bonne fêtes de Pâques
Soyez sage sur le chocolat et bonne chasse aux oeufs 
Prenez soin de vous

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MAKE MUSIC PART OF YOUR LIFE SERIES: Georges Bizet – Petite suite d’orchestre. Jeux d’enfants

Georges Bizet - Petite suite d’orchestre. Jeux d’enfants

La Folle Journée de Varsovie 2013, Szalone Dni Muzyki w Warszawie,
The Grand Theatre in Warsaw, Poland, September 28
Symphony Orchestra of the Tadeusz Szeligowski Music School in Lublin, Poland
Iwona Borcuch – conductor

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Great Compositions/Performances: Georges Enesco: Roumanian Rhapsody #1 in A Op 11, Sergiu Celibidache conducting

Georges Enesco: Roumanian Rhapsody #1 in A Op 11
George Enescu – Rapsodia Romana nr.1
Sergiu Celibidache conducting
This is THE perfect one ! No other conductor/orchestra makes me feel it and live it like this.

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QUOTATION: W. Somerset Maugham

The common idea that success spoils people by making them vain, egotistic, and self-complacent is erroneous; on the contrary, it makes them, for the most part, humble, tolerant, and kind. Failure makes people cruel and bitter.

W. Somerset Maugham (1874-1965) Discuss

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Make Music Part of Your Life series: Gabriel Fauré – Élégie pour violoncelle et piano – Germaine Thyssens Valentin & Robert Salles

Gabriel Fauré – Élégie pour violoncelle et piano
- Germaine Thyssens Valentin & Robert Salles

From Wikipedia, the free encyclopedia

Fauré in early middle age

The Élégie (Elegy), Op. 24, was written by the French composer Gabriel Fauré in 1880, and first published and performed in public in 1883. Originally for cello and piano, the piece was later orchestrated by Fauré. The work, in C minor, features a sad and sombre opening and climaxes with an intense, fast-paced central section, before the return of the elegiac opening theme.


In 1880, having completed his First Piano Quartet, Fauré began work on a cello sonata. It was his frequent practice to compose the slow movement of a work first, and he did so for the new sonata.[1] The completed movement was probably premiered at the salon of Camille Saint-Saëns in June 1880. The movement, like the quartet, is in the key of C minor. Whether the rest of the sonata would have been in that key is unknown: Fauré never completed it, and in January 1883 the slow movement was published as a stand-alone piece under the title Élégie.[1]

Jules Loeb, dedicatee and cellist at the premiere
Pablo Casals, who premiered the orchestral version

The first performance of the work under its new title was given at the Société Nationale de Musique in December 1883 by the composer and the cellist Jules Loeb to whom the piece is dedicated.[2][n 1] The Élégie was a great success from the outset,[1] and the conductor Édouard Colonne asked Fauré for a version for cello and orchestra. Fauré agreed, and that version was premiered at the Société Nationale in April 1901, with Pablo Casals as soloist and the composer as conductor.[2

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Vincent D’indy Symphony on a French mountain air for piano and orchestra

Pnina Salzman and the Jerusalem Symphony Orchestra/ Mendi Rodan, conductor. See also her Facebook page:

From Wikipedia, the free encyclopedia
For the asteroid named after the composer, see 11530 d’Indy.

Vincent d’Indy, ca. 1895

Vincent d’Indy (French pronunciation: ​[vɛ̃ˈsɑ̃ dɛ̃ˈdi]) (27 March 1851 – 2 December 1931) was a French composer and teacher.


Paul Marie Théodore Vincent d’Indy was born in Paris into an aristocratic family of royalist and Catholic persuasion. He had piano lessons from an early age from his paternal grandmother, who passed him on to Antoine François Marmontel and Louis Diémer.[1] From the age of 14 he studied harmony with Albert Lavignac. At age 19, during the Franco-Prussian War, he enlisted in the National Guard, but returned to musical life as soon as the hostilities were over. The first of his works he heard performed was a Symphonie italienne, at an orchestral rehearsal under Jules Pasdeloup; the work was admired by Georges Bizet and Jules Massenet, with whom he had already become acquainted.[1] On the advice of Henri Duparc, he became a devoted student of César Franck at the Conservatoire de Paris. As a follower of Franck, d’Indy came to admire what he considered the standards of German symphonism.

From Wikipedia, the free encyclopedia 

Pnina Salzman (Hebrew: פנינה זלצמן) (February 24, 1922, Tel AvivMandate Palestine – December 16, 2006, Tel Aviv, Israel) was an Israeli classical pianist and piano pedagogue.

Salzman showed an early aptitude for the piano, and gave her first recital at the age of eight. The French pianist and teacher, Alfred Cortot, heard her play in 1932 while she was a student at Shulamit Conservatory and invited her to Paris to study. She graduated at the Ecole Normale de Musique then became a pupil of Magda Tagliaferroat the Conservatoire de Paris, where she was to win the Premier Prix de Piano in 1938, aged 16.

It was through the violinist Bronislaw Huberman that she first developed a lifelong association with the Israel Philharmonic Orchestra, which Huberman had founded.

In 1963 she became the first Israeli to be invited to play in the USSR and in 1994, the first Israeli pianist invited to play in China. Besides performing as a soloist, she was a member of the Israel Piano Quartet.

She was a Professor and the head of the piano department at Tel Aviv University and served on the jury of many piano competitions, including the Arthur Rubinstein,Vladimir Horowitz and Marguerite Long competitions. She taught piano to many students, including Dror ElimelechNimrod David PfefferElisha AbasIddo Bar-Shai andYossi Reshef.

Buy “Symphony on a French Mountain Air for Piano and Orchestra in G Major, Op. 25: II. Assez modéré, mais sans lenteur” on

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Peter Abelard

Abelard was a 12th-century French philosopher and teacher whose career was derailed by a scandalous relationship with a tutee named Heloise. After a son and a secret marriage, Abelard sent Heloise to a convent to protect her from her disapproving family. In response, her uncle had Abelard castrated. Heloise became an abbess, while Abelard sought refuge as a monk. After his first theological work was burned as heretical, he established a monastery and resumed teaching. What were his last words? More… Discuss


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The Château

Though the French word château is translated into English as “castle,” there are certain nuances that differentiate it from its English counterpart. For example, stately residences both fortified and unfortified may be châteaus, but only if they are in the countryside. Thus, the Louvre was once a château but lost the designation once urban sprawl made it a part of Paris, whereas opulent—yet rural—Versailles Palace is considered a château. What term is used for equivalent urban structures? More… Discuss


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Make Music Part of Your Life Series: Jean Sibelius Valse Triste from Kuolema for orchestra OP 44

Make Music Part of Your Life Series:
Jean Sibelius Valse Triste from Kuolema for orchestra OP 44

(Chamber Orchestra of Europe. Lorenza Borrani premier violine solo/Konzert meister. Conductor : Vladimir Ashkenazy Cité de la musique Paris)


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Henri Herz (Vienna, 6 January 1803 — Paris, 5 January 1888) was a pianist and composer, Austrian by birth, and French by domicile.

Herz was born Heinrich Herz in Vienna. He was Jewish by birth, although he asked the musical journalist Fétis not to mention this in the latter’s musical encyclopaedia,[1] perhaps a reflection of endemic anti-semitism in nineteenth-century French cultural circles.

As a child Herz studied with his father and in Coblenz with the organist Daniel Hünten. In 1816 he entered the Paris Conservatoire, where he studied under Victor Dourlen and Anton Reicha. His brother Jacques Herz (1794-1880) was a fellow-pupil at the Conservatoire, and also became a noted pianist and teacher
A celebrated pianist, Herz traveled worldwide, including tours in Europe, Russia, South America, and in the United States of America in 1846-50, where he concertised all the way to San Francisco, California, where his performances were compared to the more extravagant manner of Leopold de Meyer, concertising in the United States during the same period (1845-47)..[2] He wrote a book about his experiences abroad, Mes voyages en Amérique (Paris: Achille Faure, 1866).[3]
Herz taught at the Conservatoire (1842-74). (Of his pupils, only Marie-Aimée Roger-Miclos (1860-1950) recorded, in the early 1900s, for Dischi Fonotipia.)
In 1842 he built the Salle des Concerts Herz on the rue de la Victoire. This was used for performances by Berlioz and Offenbach.[4] In 1851 he founded his own piano factory in Paris
Herz composed many pieces including eight piano concertos. Among his many musical works, he was involved with the composition of Hexaméron (the fourth variation on Bellini’s theme is his). Many however found his piano style showy and shallow, and Robert Schumann was amongst those who criticized it.


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RT @Steven__Strong “Le Boeing 747 décolla pour la première fois il y a tout juste 45 ans aujourd’hui. …


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Great Compostions/Performances: Rhapsodie D’Auvergne for Piano and Orchestra By Saint-Saens

Rhapsodie D’Auvergne for Piano and Orchestra By Saint-Saens

(2008 Annual Concert at Glenn Gould Studio Toronto Soloist:Emily Pei’En Fan Conductor: Tony Fan with Chinese Artists Society of Toronto Youth Orchestra)

Saint-Saens: Later years

In 1886 Saint-Saëns debuted two of his most renowned compositions: The Carnival of the Animals andSymphony No. 3, dedicated to Franz Liszt, who died that year. That same year, however, Vincent d’Indyand his allies had Saint-Saëns removed from the Société Nationale de Musique. Two years later, Saint-Saëns’s mother died, driving the mourning composer away from France to the Canary Islands under the alias “Sannois”. Over the next several years he travelled around the world, visiting exotic locations in Europe, North Africa, Southeast Asia, and South America. Saint-Saëns chronicled his travels in many popular books using his nom de plume, Sannois.

In 1908, he had the distinction of being the first celebrated composer to write a musical score to a motion picture, The Assassination of the Duke of Guise (L’assassinat du duc de Guise), directed by Charles Le Bargy and André Calmettes, adapted by Henri Lavedan, featuring actors of the Comédie Française. It was 18 minutes long, a considerable run time for the day.

In 1915, Saint-Saëns traveled to San Francisco, California and guest conducted the San Francisco Symphony Orchestra during the Panama-Pacific International Exposition, one of two world’s fairs celebrating the completion of the Panama Canal.

Saint-Saëns continued to write on musical, scientific and historical topics, travelling frequently before spending his last years in AlgiersAlgeria. In recognition of his accomplishments, the government of France awarded him the Légion d’honneur.

Saint-Saëns died of pneumonia on 16 December 1921 at the Hôtel de l’Oasis in Algiers. His body was repatriated to Paris, honoured by state funeral at La Madeleine, and interred at Cimetière du Montparnasse in Paris.

Relationships with other composers

Saint-Saëns was either friend or enemy to some of Europe’s most distinguished musicians. He stayed close to Franz Liszt and maintained a fast friendship with his pupil Gabriel Fauré, who replaced him as organist and choirmaster when he retired. Additionally, he was a teacher and friend to Isidor Philipp, who headed the piano department at the Paris Conservatory for several decades and was a composer and editor of the music of many composers. But despite his strong advocacy of French music, Saint-Saëns openly despised many of his fellow-composers in France such as Franckd’Indy, and Massenet. Saint-Saëns also hated the music of Claude Debussy; he is reported to have told Pierre Lalo, music critic, and son of composer Édouard Lalo, “I have stayed in Paris to speak ill of Pelléas et Mélisande.” The personal animosity was mutual; Debussy quipped: “I have a horror of sentimentality, and I cannot forget that its name is Saint-Saëns.” On other occasions, however, Debussy acknowledged an admiration for Saint-Saëns’s musical talents.

Saint-Saëns had been an early champion of Richard Wagner‘s music in France, teaching his pieces during his tenure at the École Niedermeyer and premiering the March from Tannhäuser. He had stunned even Wagner himself when he sight-read the entire orchestral scores of LohengrinTristan und Isolde, andSiegfried, prompting Hans von Bülow to refer to him as, “the greatest musical mind” of the era. However, despite admitting appreciation for the power of Wagner’s work, Saint-Saëns defiantly stated that he was not an aficionado. In 1886, Saint-Saëns was punished for some particularly harsh and anti-German comments on the Paris production of Lohengrin by losing engagements and receiving negative reviews throughout Germany. Later, after World War I, Saint-Saëns angered both French and Germans with his inflammatory articles entitled Germanophilie, which ruthlessly attacked Wagner.[2]

Saint-Saëns edited Jean-Philippe Rameau‘s Pièces de clavecin, and published them in 1895 through Durand in Paris (re-printed by Dover in 1993).

On 29 May 1913, Saint-Saëns stormed out of the première of Igor Stravinsky‘s Le sacre du printemps (The Rite of Spring), allegedly infuriated over what he considered the misuse of the bassoon in the ballet’s opening bars.


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‘Henry and June’ – Soundtrack and PLaylist (Lucienne Boyer – Parlez-Moi D’Amour [1930] and other 17 wonderful songs!)

From Wikipedia, the free encyclopedia
This article is about the book by Anaïs Nin. For other uses, see Henry and June (disambiguation).
Henry and June: From the Unexpurgated Diary of Anaïs Nin
Henryandjune cover.jpg

Front Cover
Author Anaïs Nin
Language English
Genre MemoirDiary
Publisher Harcourt Brace Jovanovich
Publication date
Media type Print (Hardcover andPaperback)
ISBN 978-0-15-140003-4
OCLC 13333571
Dewey Decimal 818/.5203 B 19
LC Class PS3527.I865 Z4642 1986

Henry and June: From the Unexpurgated Diary of Anaïs Nin (full title Henry and June: From A Journal of Love: the Unexpurgated Diary of Anaïs Nin (1931–1932)) is a 1986 book that is based upon material excerpted from the unpublished diaries of Anaïs Nin. It corresponds temporally to the first volume of Nin’s published diaries, written between October 1931 and October 1932, yet is radically different, in that that book begins with a description of the landscape of and around her home and never mentions her husband, whereas “Henry and June” begins with discussion of Nin’s sex life and is full of her struggles and passionate relationship with husband Hugo, and then, as the novel/memoir progresses, other lovers.

This, the first of currently four volumes of unexpurgated diaries, concentrates on her passionate involvement with the writer Henry Miller and his wife June Miller.

It is noteworthy that Nin’s source material —her diaries —was able to spawn two dramatically different narratives about the same time period, both widely read and praised. The expurgated diary reveals Nin the philosopher and amateur but astute psychologist. The unexpurgated diary reveals a woman breaking out into wild sexual discovery. It is introduced by her second—coterminous—husband.

A film based on the book was released in 1990.


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Marlene Dietrich “Je m’ennuie” 1933

Marlene Dietrich “Je m’ennuie” 1933

Marlene Dietrich (1901-1992) enregistrée le 15 juillet 1933 à Paris.

The French lyrics are quite “benign” but don’t forget that it was the 1930s… If you never heard Dietrich sing, here’s your chance.

De ce que fut mon enfance, 
Je n’ai plus de souvenirs.
C’est peut-être que la chance
Ne m’offrit pas de plaisirs. 
Et chaque jour qui se lève
Ne m’apporte aucun espoir.
Je n’ai même pas de rêve
Quand luit l’etoile du soir.

Moi, je m’ennuie,
C’est dans ma vie
Une manie.
Je n’y peux rien..
Le plaisir passe,
Il me dépasse.
En moi sa trace
Ne laisse rien.
Partout je traîne,
Comme une chaîne,
Ma lourde peine,
Sans autre bien.
C’est dans ma vie
Une manie.
Moi, je m’ennuie…

Par de longs vagabondages,
J’ai voulu griser mon coeur,
Et souvent, sur mon passage,
J’ai vu naître des malheurs.
Sur chaque nouvelle route,
A l’amour j’ai dû mentir ;
Et le soir, lorsque j’écoute
La plainte du vent mourir…

Moi, je m’ennuie…
C’est dans ma vie
Une manie.
Je n’y peux rien..
Le plaisir passe,
Il me dépasse.
En moi sa trace
Ne laisse rien.
Partout je traîne,
Comme une chaîne,
Ma lourde peine,
Sans autre bien.
C’est dans ma vie
Une manie.
Moi, je m’ennuie…

visit: http://lannghiemphu.blogspot.com/2011/07/je-mennuie.html

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Daniel François Esprit Auber – Ouverture Gustave III (1833)


Daniel François Esprit Auber – Ouverture Gustave III (1833)


Daniel François Esprit Auber portrait

Daniel François Esprit Auber portrait (Photo credit: Bergen Public Library)


Daniel François Esprit Auber (29 January 1782 — 12/13 May 1871) was a French composer.
Ouverture “Gustave III”, ou “Le bal masqué”
Librettist Eugène Scribe (1791-1861)
English Chamber Orchestra conducted by Richard Bonynge
Paris: E. Troupenas, n.d.(1833). Plate 721.
New York: Garland, 1980


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Music composed by Joseph-Maurice Ravel. Charles Dutoit; Montreal Symphony Orchestra.

Music composed by Joseph-Maurice Ravel. Charles Dutoit; Montreal Symphony Orchestra.
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Great Composers/Performances: Duke Ellington The Great Paris Concert

Duke Ellington Orchestra
■Recorded at the Olympia Theater, Paris , France , on Feb.1st,2nd and 23rd, 1963
1.Kinda Dukish,
2.Rockin’ in Rhythm (01:51),
3.On the Sunny Side of the Street (05:39) ,
***4.Star-Crossed Lovers (08:42),
5.All of Me(12:53) ,
6.Theme from “Asphalt Jungle” (15:29) ,
7.Concerto for Cootie (19:35),
8.Tutti for Cootie (22:10),
9.Suite Thursday: MisfitBlues (26:57),
10.Suite Thursday: Schwiphti (30:36),
11.Suite Thursday: Zweet Zurzday (33:28),
12.Suite Thursday: Lay-By (37:21),
13.Perdido (43:49),
14.The Eighth Veil (49:10),
15.Rose Of The Rio Grande (51:46),
16.Cop Out (54:28),
17.Bula (1:01:25)
Related articles:

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Great Compositions/Performances: La Prière (avec ça signification Chretienne)- Georges Brassens (1965)

À l’émission “Douce France“, le 4 janvier 1965.
Un poème de Francis Jammes:  Great Compositions/Performances:
La Prière – Georges Brassens (1965)

Brassens a utilisé deux fois la même mélodie, d’abord sur le poème d’AragonIl n’y a pas d’amour heureux, puis sur celui de Francis Jammes, La prière.
Il s’en est expliqué dans une interview où il raconte qu’au XIXème siècle circulaient des mélodies de base (un peu comme pour le blues en jazz) sur lesquels les chanteurs pouvaient faire coller les paroles qu’ils avaient composées. Ces mélodies passe-partout s’appelaient des “timbres”. 
Les timbres ont été utilisés jusque dans les années 50 en France, notamment par les chansonniers du Grenier de Montmartre (sur Paris Inter) qui écrivaient ou même improvisaient des couplets d’actualité sur des airs standards, dont le public reprenait les refrains. 
Mais voyant que ce qu’il avait cherché à ressusciter était mal compris, (“Qui c’est ce flemmard qui nous sert deux chansons sur le même air?”) Brassens ne renouvela pas l’expérience.
[contact auteur : Henri T.] - [compléter cette analyse]
Maxime Le Forestier a fait remarquer l’ironie de cette situation: les deux seuls textes que Brassens a dotés d’une même musique sont l’un du très communiste Aragon et l’autre du très catholique Francis Jammes.
[contact auteur : Didier Bergeret]
A l’origine, le poème de Francis Jammes Les mystères douloureux(1905), comportait 5 couplets :
1- Agonie
2- Flagellation
3- Couronnement d’épines (supprimé par G.B.)
4- Portement de croix
5- Crucifiement
Dans le 3) (Couronnement d’épines), F. Jammes réfléchissait sur son sort de poète et cherchait vers le Christ son inspiration. 
“Par le poète dont saigne le front qui est ceint des ronces des désirs que jamais il n’atteint : Je vous salue, Marie
Il faut savoir que Jammes était résolument chrétien, particulièrement en 1905, où il s’était de nouveau adonné à la pratique religieuse. Il est intéressant de remarquer que GB, loin d’être un fervent catholique, a néanmoins choisi de chanter une prière particulièrement pieuse.
Le couplet “Invention de Notre Seigneur au Temple”, est écrit quant à lui par GB en personne. Ce titre est probablement choisi pour indiquer que ce couplet est une contribution de GB au poème. Contribution assez ironique toutefois, puisque GB se compare à “Notre Seigneur” (sous-entendu le Christ). De la même façon que Jammes comparait son travail de souffrance dans le 3e couplet à celui du Christ. Ainsi, GB se moquerait-il de F.J. dans cet ultime couplet, répondant sous des accents christiques aux implorations de F.J. ?
[contact auteur : Damien V.] - [compléter cette analyse]
Dans son recueil L’église habitée de feuilles (1906), que je n’ai pas sous la main, Francis Jammes illustre les Avé Maria (faut vérifier si tous les 150) et les 15 mystères (= moments de la vie de Jésus) de la prière du Rosaire. Ces mystères sont:
Les Mystères joyeux :
Annonciation – Visitation – Nativité – Purification – Jésus retrouvé au Temple.
Les Mystères douloureux :
Agonie – Flagellation – Couronnement d’épines – Portement de croix – Mort du Christ en croix.
Les Mystères glorieux :
Résurrection – Ascension – Pentecôte – Assomption – Couronnement de la Vierge.
En 2002, Jean-Paul II y a ajouté les Mystères lumineux :
Baptême du Seigneur – Noces de Cana – Annonce du Royaume – Transfiguration – Institution de l’Eucharistie.
[contact auteur : Ralf Tauchmann]
01Par le petit garçon qui meurt près de sa mère
02Tandis que des enfants s’amusent au parterre ;
03Et par l’oiseau blessé qui ne sait pas comment
04Son aile tout à coup s’ensanglante et descend
05Par la soif et la faim et le délire ardent:
06Je vous salue, Marie
07Par les gosses battus par l’ivrogne qui rentre,
08Par l’âne qui reçoit des coups de pied au ventre
09Et par l’humiliation de l’innocent châtié,
10Par la vierge vendue qu’on a déshabillée,
11Par le fils dont la mère a été insultée:
12Je vous salue, Marie
13Par la vieille qui, trébuchant sous trop de poids,
14S’écrie : “mon Dieu ! “, par le malheureux dont les bras
15Ne purent s’appuyer sur une amour humaine
16Comme la Croix du Fils sur Simon de Cyrène
Référence à la Passion
Référence à l’Evangile selon Saint Matthieu chapitre 27, verset 32 et l’Evangile selon Saint Marc 15, 21. 
Pendant le Chemin de Croix, les soldats réquisitionnent un homme revenu des champs, Simon de Cyrène, pour porter la Croix du Christ, qui est à bout de forces. Le Fils est une référence à l’expression “Le Fils de l’homme”, par laquelle Jésus se définit lui-même. Le Christ est également le Fils de Dieu.
On connaît le caractère anticlérical de certaines chansons de Brassens, voire franchement sacrilège sur la fin de sa vie, mais cette prière de Jammes est touchante par sa sincérité et par les images qu’elle évoque.
[contact auteur : Alexandre T.] - [compléter cette analyse]
17Par le cheval tombé sous le chariot qu’il traîne:
Le service de publication est momentanément désactivé, sans doute à cause d’une trop longue liste d’analyses en attente de modération.
Merci de votre compréhension.
18Je vous salue, Marie
19Par les quatre horizons qui crucifient le monde,
20Par tous ceux dont la chair se déchire ou succombe,
21Par ceux qui sont sans pieds, par ceux qui sont sans mains,
22Par le malade que l’on opère et qui geint
23Et par le juste mis au rang des assassins:
24Je vous salue, Marie
25Par la mère apprenant que son fils est guéri,
Dernier couplet
Ce couplet est la note personnelle de GB. Voilà qu’en un air de musique, GB arrive à détourner l’idée originale du texte de F.J.
F. Jammes, qui cherchait dans la souffrance du monde et celle du Christ une réponse à ses propres tourments, se voit répondre par GB dans ce dernier couplet.
GB prend ici le contrepied de la démarche de FJ : ce dernier pointait la misère du monde, telle qu’a été la souffrance de Jésus. GB quant à lui met en avant le bonheur retrouvé. En signant lui aussi le couplet par un ave maria, GB signifie ainsi que la souffrance n’est qu’une invention divine pour glorifier le message de Dieu. Dieu ne prend que pour mieux redonner, et inversement, il ne donne que pour mieux reprendre. L’étendue de son pouvoir n’est donc que virtuelle, est bonne à duper que les imbéciles.
[contact auteur : Damien V.] - [compléter cette analyse]
Cette dernière strophe est tirée des Mystères Joyeux de F. Jammes qui, avec les Mystères douleureux et les Mystères glorieux, illustrent les mystères du Rosaire.
[contact auteur : Ralf Tauchmann]
26Par l’oiseau rappelant l’oiseau tombé du nid,
27Par l’herbe qui a soif et recueille l’ondée,
28Par le baiser perdu par l’amour redonné,
29Et par le mendiant retrouvant sa monnaie :
30Je vous salue, Marie


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The Best French Songs (Edith Piaf, Charles Aznavour, Jacques Brel)


The Best French Songs

Buy “La vie en rose” on

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Edith Piaf


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Great Compositions/Performances: George Enescu – Romanian Rhapsody n° 2 in D major, Op. 11 (Orchestre de Montbéliard, Paul Staïcu)

The first Romanian Rhapsody composed at 19 years (together with a second one, both bearing the opus number 11) gained a worldwide fame for its lovely folk tunes (in fact, all Enescu’s works are imbued with such folk lightmotifs) and vivid Romanian rhythms, becoming definitely the best known of all his compositions. Here the Rhapsody No.2 is performed with an infectious empathy by the Romanian conductor Paul Staïcu along with his outstanding musicians of Montbéliard Philharmonic Orchestra.  The performance reveals a mighty symphonist with a keen sense of colours and orchestral textures, a rigorous and honest one devoted to principles and truth, extracting the sap of his composition from folk melodies of his people.  The reputed conductor Paul Staïcu has signed a series of recordings devoted to the complete orchestral oeuvres of his fellow compatriot.  The celebrated Romanian Rhapsody in D major op.11 , more reflexive than its pair no.1, the second Romanian Rhapsody is also a youthful work (written in 1900, when the composer was 19) with persistent folk aromas and picturesque suggestions, aiming at fructifying the popular Romanian musical treasure and meditative side of its sentimentality. The rhapsodic character compounds its appeal and favours its reception by audiences. It is a composition putting grave questions and depicting outrageous realities, filtered through a sensitive conscience. It conveys the sufferance of a moral man facing the immorality of a corrupt and pointless world, reflecting on duties and faiths, on life’s sense and destiny. The torturing mood is magisterially recreated by the inspired baton of Paul Staïcu, the main themes flow unceasingly with a desolating vigour and reach finally a concluding climax affirming an undefeated hope in the majesty of mankind.


The Romanian Athenaeum, at about the time of the Rhapsodies’ premiere there in 1903

The two Romanian Rhapsodies, Op. 11, for orchestra, are George Enescu‘s best-known compositions. They were both written in 1901, and first performed together in 1903. The two rhapsodies, and particularly the first, have long held a permanent place in the repertory of every major orchestra. They employ elements of lăutărească music, vivid Romanian rhythms, and an air of spontaneity. They exhibit exotic modal coloring, with some scales having ‘mobile’ thirds, sixths or sevenths, creating a shifting major/minor atmosphere, one of the characteristics of Romanian lăutărească music.[1][not in citation given] They also incorporate some material found in the later drafts of his Poème roumaine, Op. 1.[2]

File:Ateneul Român stage.jpg

The stage of the Athenaeum in Bucharest

The two Romanian Rhapsodies were composed in Paris, and premiered together in a concert at the Romanian Athenaeumin Bucharest which also included the world premiere of Enescu’s First Suite for Orchestra, Op. 9 (1903). The composer conducted all three of his own works, which were preceded on the programme by Berlioz’s Overture to Les francs-jugesand Schumann’s Symphony No. 1, both conducted by Eduard Wachmann. The concert took place on 23 February 1903[3](according to the Julian calendar in use in Romania at that time; 8 March 1903 Gregorian).[4] The Second Rhapsody was played first, and Enescu maintained this order of performance throughout his life.[5]

Rhapsody No. 2 in D major

The Second Rhapsody, like the first, was completed in 1901,[14][7] but is more inward and reflective. Its essential character is not dance, but song.[15][5] It is based on the popular 19th-century ballad “Pe o stîncă neagră, într-un vechi castel” (“On a dark rock, in an old castle”) which, like the opening melody of the First Rhapsody Enescu may have learned from the lăutar Chioru,[1] though again there is some doubt whether Enescu actually remembered it from Chioru.[10] After a development culminating in a canonic presentation, this theme is joined by a dance tune, “Sîrba lui Pompieru” (“Sîrba of the Fireman”), followed shortly afterward by the second half of a folksong, “Văleu, lupu mă mănîncă” (“Aiee, I’m being devoured by a wolf!”), which is treated in canon.[16] Toward the end there is a brief moment of animation, bringing to mind the spirit of country lăutari, but the work ends quietly.[17]

Unlike the First Rhapsody, there is no controversy at all about the scoring of the Second, which is given in the published score as: 3 flutes, 2 oboes, cor anglais, 2 clarinets in A, 2 bassoons, 4 horns, 2 trumpets in C, 3 trombones, 2 timpani, cymbal, 2 harps, first violins, second violins, violas, cellos, and double basses.[18]


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Antoine de Lhoyer: Concerto for guitar & strings, Op. 16 (1799) – Part II / Ensemble Matheus


Concerto pour la guitare avec accompagnement de 2 violons, alto et basse, Opus 16

date: 1799 (Hamburg, Boehme, 1802)

II. Adagio (arranged by Philippe Spinosi) - 0:05

Philippe Spinosi (R. Lacote, 1824 guitar)
Violin I
Laurence Paugam (J. Knit, 1770 c.)
Emmanuel Curial (N.-A. Chappuy, 1750 c.)
Marc-Antoine Raffy (Ch. Jacquot, Early XIX Century)
Cécile Mille (Fresbrunner, 1750 c.)
Violin II
Françoise Paugam (Italy, Early XVIII Century)
Anne-Violaine Caillaux (A. Meyer, Metz, XVIII Century)
Tami Troman (A. Castagneri, Paris, 1738)
Malik Haudidier (J. L. Blivet, 1998 after A. Testore, Milan, 1747)
Marie-Aude Guyon (Maucotel et Deschamp, 1906)
Pauline Warnier (Austrian anonymous, XVIII Century violoncello)
Thierry Runarvot (1700 c., Naples double bass)

Ensemble Matheus / Jean-Christophe Spinosi (conductor)

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Georges Brassens – Il n’y a pas d’amour heureux (live) 1965 (‘…Sa vie elle ressemble à ces soldats sans armes Qu’on avait habillés pour un autre destin A quoi peut leur servir de ce lever matin Eux qu’on retrouve au soir désarmés incertains Dites ces mots ma vie et retenez vos larmes…’)

Georges Brassens – Il n’y a pas d’Amour Heureux, 1965
(music de Georges Brassens – poeme de Louis Aragon)

Rien n’est jamais acquis à l’homme. Ni sa force
Ni sa faiblesse ni son cœur. Et quand il croit
Ouvrir ses bras son ombre est celle d’une croix
Et quand il croit serrer son bonheur il le broie
Sa vie est un étrange et douloureux divorce

Il n’y a pas d’amour heureux

Sa vie elle ressemble à ces soldats sans armes
Qu’on avait habillés pour un autre destin
A quoi peut leur servir de ce lever matin
Eux qu’on retrouve au soir désarmés incertains
Dites ces mots ma vie et retenez vos larmes

Il n’y a pas d’amour heureux

Mon bel amour mon cher amour ma déchirure
Je te porte dans moi comme un oiseau blessé
Et ceux-là sans savoir nous regardent passer
Répétant après moi les mots que j’ai tressés
Et qui pour tes grands yeux tout aussitôt moururent

Il n’y a pas d’amour heureux

Le temps d’apprendre à vivre il est déjà trop tard
Que pleurent dans la nuit nos cœurs à l’unisson
Ce qu’il faut de malheur pour la moindre chanson
Ce qu’il faut de regrets pour payer un frisson
Ce qu’il faut de sanglots pour un air de guitare

Il n’y a pas d’amour heureux

Il n’y a pas d’amour qui ne soit à douleur
Il n’y a pas d’amour dont on ne soit meurtri
Il n’y a pas d’amour dont on ne soit flétri
Et pas plus que de toi l’amour de la patrie
Il n’y a pas d’amour qui ne vive de pleurs

Il n’y a pas d’amour heureux


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TODAY’S SAINT: St. Francis de Sales

St. Francis de Sales

St. Francis de Sales

St. Francis de Sales

    Feastday: January 24
    Patron Saint of Journalists, Writers
    1567 – 1622
    Born in France in 1567, Francis was a patient man. He knew for thirteen years that he had a vocation to the priesthood before he mentioned it to his family. When his father said that he wanted Francis to be a soldier and sent him to Paris to study, Francis said nothing. Then when he went to Padua to get a doctorate in law, he still kept quiet, but he studied theology and practiced mentalprayer while getting into swordfights and going to parties. Even when his bishop told him if he wanted to be a priest that he thought that he would have a miter waiting for him someday, Francis uttered not a word. Why did Francis wait so long? Throughout hislife he waited for God’s will to be clear. He never wanted to push his wishes on God, to the point where most of us would have been afraid that God would give up!

    God finally made God’s will clear to Francis while he was riding. Francis fell from his horse three times. Every time he fell the sword came out of the scabbard. Every time it came out the sword and scabbard came to rest on the ground in the shape of the cross. And then, Francis, without knowing about it, was appointedprovost of his diocese, second in rank to the bishop.

    Perhaps he was wise to wait, for he wasn’t a natural pastor. His biggest concern on being ordained that he had to have his lovely curly gold hair cut off. And his preaching left the listeners thinking he was making fun of him. Others reported to the bishop that this noble-turned- priest was conceited and controlling.

    Then Francis had a bad idea – at least that’s what everyone else thought. This was during the time of the Protestant reformation and just over the mountains from where Francis lived was Switzerland – Calvinist territory. Francis decided that he should lead an expedition to convert the 60,000 Calvinists back to Catholicism. But by the time he left his expedition consisted of himself and his cousin. His father refused to give him any aid for this crazy plan and thediocese was too poor to support him.

    For three years, he trudged through the countryside, had doors slammed in his face and rocks thrown at him. In the bitter winters, his feet froze so badly they bled as he tramped through the snow. He slept in haylofts if he could, but once he slept in a tree to avoid wolves. He tied himself to a branch to keep from falling out and was so frozen the next morning he had to be cut down. And after three years, his cousin had left him alone and he had not made one convert.

    Francis’ unusual patience kept him working. No one would listen to him, no one would even open their door. So Francis found a way to get under the door. He wrote out his sermons, copied them by hand, and slipped them under the doors. This is the first record we have of religious tracts being used to communicate with people.

    The parents wouldn’t come to him out of fear. So Francis went to the children. When the parents saw how kind he was as he played with the children, they began to talk to him.

    By the time, Francis left to go home he is said to have converted 40,000 people back to Catholicism.

    In 1602 he was made bishop of the diocese of Geneva, in Calvinist territory. He only set foot in the city of Geneva twice — once when the Pope sent him to try to convert Calvin’s successor, Beza, and another when he traveled through it.

    It was in 1604 that Francis took one of the most important steps in his life, the step toward holiness and mystical union with God.

    In Dijon that year Francis saw a widow listening closely to his sermon — a woman he had seen already in a dream. Jane de Chantal was a person on her own, as Francis was, but it was only when they became friends that they began to become saints. Jane wanted him to take over her spiritual direction, but, not surprisingly, Francis wanted to wait. “I had to know fully what God himself wanted. I had to be sure that everything in this should be done as though his hand had done it.” Jane was on a path to mystical union with God and, in directing her, Francis was compelled to follow her and become a mystic himself.

    Three years after working with Jane, he finally made up his mind to form a new religious order. But where would they get a convent for their contemplative Visitation nuns? A man came to Francis without knowing of his plans and told him he was thinking of donating a place for use by pious women. In his typical way of not pushing God, Francis said nothing. When the man brought it up again, Francis still kept quiet, telling Jane, “God will be with us if he approves.” Finally the man offered Francis the convent.

    Francis was overworked and often ill because of his constant load of preaching, visiting, and instruction — even catechizing a deaf man so he could take first Communion. He believed the first duty of a bishop was spiritual direction and wrote to Jane, “So many have come to me that I might serve them, leaving me no time to think of myself. However, I assure you that I do feel deep-down- within-me, God be praised. For the truth is that this kind of work is infinitely profitable to me.” For him active work did not weaken his spiritual inner peace but strengthened it. He directed most people through letters, which tested his remarkable patience. “I have more than fifty letters to answer. If I tried to hurry over it all, i would be lost. So I intend neither to hurry or to worry. This evening, I shall answer as many as I can. Tomorrow I shall do the same and so I shall go on until I have finished.”

    At that time, the way of holiness was only for monks and nuns – not for ordinary people. Francis changed all that by giving spiritual direction to lay people living ordinary lives in the world. But he had proven with his own lifethat people could grow in holiness while involved in a very active occupation. Why couldn’t others do the same? His most famous book, INTRODUCTION TO THE DEVOUT LIFE, was written for these ordinary people in 1608. Written originally as letters, it became an instant success all over Europe – though some preachers tore it up because he tolerated dancing and jokes!

    For Francis, the love of God was like romantic love. He said, “The thoughts of those moved by natural human love are almost completely fastened on the beloved, their hearts are filled with passion for it, and their mouths full of its praises. When it is gone they express their feelings in letters, and can’t pass by a tree without carving the name of their beloved in its bark. Thus too those who love God can never stop thinking about him, longing for him, aspiring to him, and speaking about him. If they could, they would engrave the name of Jesus on the hearts of all humankind.”

    The key to love of God was prayer. “By turning your eyes on God in meditation, your whole soul will be filled with God. Begin all your prayers in the presence of God.”

    For busy people of the world, he advised “Retire at various times into the solitude of your own heart, even while outwardly engaged in discussions or transactions with others and talk to God.”

    The test of prayer was a person’s actions: “To be an angel in prayer and a beast in one’s relations with people is to go lame on both legs.”

    He believed the worst sin was to judge someone or to gossip about them. Even if we say we do it out of love we’re still doing it to look better ourselves. But we should be as gentle and forgiving with ourselves as we should be with others.

    As he became older and more ill he said, “I have to drive myself but the more I try the slower I go.” He wanted to be a hermit but he was more in demand than ever. The Pope needed him, then a princess, then Louis XIII. “Now I really feel that I am only attached to the earth by one foot…” He died on December 28, 1622, after giving a nun his last word of advice: “Humility.”

    He is patron saint of journalists because of the tracts and books he wrote. 

    from Wikipedia


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    Great Compositions: Poulenc/Désormière : Les Biches en 1951

    Francis POULENC – Les Biches

    Orchestre de la Société des concerts du Conservatoire, dirigé par Roger Désormière
    Enregistré le 15 juin 1951 à Paris, Maison de la Mutualité
    33t : Decca LXT 2720 
    Grand prix du disque 1953

    Lettre à Yvonne de Casa-Fuerte du 8 juillet 1952 : « … L’état de Déso me désespère, me hante. Je ne savais pas tant l’aimer. J’ai été le voir. Il a eu une crise de désespoir effroyable. J’étais si bouleversé que j’ai éclaté en sanglots avec recrise de larmes le soir chez Da(rius Milhaud). Il est adorable de jeunesse, 30 ans à peine, rose et frais comme un petit bouvreuil et avec cela cet affreux silence, cette main inerte. Colette (Steinlen-Désormière) est héroïque. La pauvre Irène (Joachim), une épave. Vive la mort subite de Bébé (Christian Bérard), de Pierre Colle. 
    « Vous allez bientôt entendr
    e à New York l’enregistrement des Biches (Decca). C’est intolérable. Je ne peux l’entendre sans pleurer car personne ne donnera comme lui l’impression de mes 20 ans. … » 


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    John Singer Sargent (1856)

    The son of American expatriates, Sargent grew up in Europe and studied painting in Paris. His best known work is the Portrait of Madame X, which created a scandal at the 1884 Salon—critics found it erotic, and the sitter’s mother disapproved. Discouraged, Sargent moved permanently to London where he captured Edwardian high society in elegant portraits painted with his slashing brushstrokes. Though his portraits brought him acclaim, fellow artist James Whistler described them in what way?More… Discuss

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    Great Performances: Schumann Kinderszenen Op 15 – Valentina Lisitsa

    Schumann Kinderszenen Op 15 – Valentina Lisitsa 


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    Great Performances: George Gershwin: An American In Paris / Gustavo Dudamel – Los Angeles Philharmonic Orchestra

    Published on Jun 4, 2013
    Gershwin An American In Paris Dudamel Gustavo Los Angeles Philharminic Orchestra

    From Wikipedia, the free encyclopedia
    This article is about the 1928 George Gershwin music. For the 1951 musical starring Gene Kelly, see An American in Paris (film). For Christopher Wheeldon‘s 2005 ballet, see An American in Paris (ballet).

    A theme from George Gershwin’s orchestral
    composition An American in Paris

    An American in Paris is a symphonic tone poem by the American composer George Gershwin, written in 1928. Inspired by the time Gershwin had spent in Paris, it evokes the sights and energy of the French capital in the 1920s and is one of his best-known compositions.

    Gershwin composed An American in Paris on commission from the New York Philharmonic. He scored the piece for the standard instruments of the symphony orchestra plus celestasaxophones, and automobile horns. He brought back some Parisian taxi horns for the New York premiere of the composition, which took place on December 13, 1928 in Carnegie Hall, with Walter Damrosch conducting the New York Symphony. Gershwin completed the orchestration on November 18, less than four weeks before the work’s premiere.[1]

    Gershwin collaborated on the original program notes with the critic and composer Deems Taylor, noting that: “My purpose here is to portray the impression of an American visitor in Paris as he strolls about the city and listens to various street noises and absorbs the French atmosphere.” When the tone poem moves into the blues, “our American friend … has succumbed to a spasm of homesickness.” But, “nostalgia is not a fatal disease.” The American visitor “once again is an alert spectator of Parisian life” and “the street noises and French atmosphere are triumphant.”
    Gershwin based An American in Paris on a melodic fragment called “Very Parisienne”, written in 1926 on his first visit to Paris as a gift to his hosts, Robert and Mabel Schirmer. He described the piece as a “rhapsodic ballet” because it was written freely and is more modern than his previous works. Gershwin explained in Musical America, “My purpose here is to portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises, and absorbs the French atmosphere.”

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    Duo Palissandre – duo n°3 opus 31 2ème mouvement Antoine de Lhoyer




    Edouard Manet: Harbour at Bordeaux, 1871

    Edouard Manet: Harbour at Bordeaux, 1871 (Photo credit: Wikipedia)


    Le duo de guitare Palissandre (Vanessa Dartier & Yann Dufresne) interprète le 2ème mouvement du Duo n°3 opus 31 de Antoine de Lhoyer en août 2013 au Petit Théâtre à Bordeaux (France)




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    LISZT La Campanella (S.141/3) – F.R.Duchable, 1974

    Franz LISZT: Grandes études de Paganini, S.141, LW.A173 (1851)0:10 / No.3 – La Campanella. Allegretto in G-sharp minor (based on Paganini‘s 2nd Violin Concerto Op.7) [4'36'']
    François-René DUCHABLE, piano
    (rec: Paris, Salle Wagram, 1974)

    From Wikipedia, the free encyclopedia 

    The Grandes études de Paganini are a series of six études for the piano by Franz Liszt, revised in 1851 from an earlier version (published asÉtudes d’exécution transcendante d’après Paganini, S.140, in 1838). It is almost exclusively in the final version that these pieces are played today.

    The pieces are all based on the compositions of Niccolò Paganini for violin, and are among the most technically demanding pieces in the piano literature (especially the original versions, before Liszt revised them, thinning the textures and removing some of the more outrageous technical difficulties). The pieces run the gamut of technical hurdles, and frequently require very large stretches by the performer of an eleventh (although all stretches greater than a tenth were removed from the revised versions).


    Gabriel Fauré, ballade for piano and orchestra, op. 19, Vasso Devetzi, Serge Baudo

    No, this is not about Paris. I was floating in memories letting them carry me away. Doing some resetting too.

    The first symphonic work by G. Fauré (1845-1924), the great master of french song, had its première in 1881. It was composed earlier when the composer broke his affair with Marianne Viardot (yes, Pauline´s daughter). When Liszt played the work in a friendly meeting with Fauré, arranged by Saint Saens in Weimar in 1877, he said ´´this is too difficult“, leaving the scholars ever since aghast. Some of them claim that Liszt had troubles of vision at that time.

    Vasso Devetzi, greek pianist, Thessaloniki, September the 9th, 1927- Paris, November the 1st, 1987. An ambitious artist who defined herself in her cv through her friendships. So, friend of the composer Mikis Theodorakis and late friend of Maria Callas. In the 50´s she moved to Paris. She became friend with Marguerite Long, Henri Sauguet, René Dumesnil, Bernard Gavoty, Claude Rostand, Jacques Fevrier, Jean Roire. . . It is said that M. Long gave the score of this ballade to Devetzi. In the 1960′s and 1970′s she lived long periods in Soviet Union. Soprano Galina Vishnevskaja and cellist Mstislav Rostropovich were her good friends, and she often accompanied them. During her last years she was the president of the Maria Callas Foundation, which provided international scholarships for young singers. She organized the ceremony of spreading Callas´s ashes in the Aegean sea. Greek people, regretfully, rarely talk about Devetzi.

    The ballade was recorded in 1963 in Salle Wagram in Paris. An excellent result in my opinion. Serge Baudo conducts Devetzi and the Orchestre de la Socièté des Concerts du Conservatoire de Paris, long and dull name for the ancestor of the Orchestre de Paris. Chant du Monde, France. 




    Madeline is a children’s book series created by Austrian author and illustrator Ludwig Bemelmans. The first book in the series, just called Madeline, was published in 1939, and was followed by several sequels. The books chronicle spunky, red-haired Madeline’s daily adventures at a Parisian boarding school—including taking in a dog and having her appendix removed—while her teacher Miss Clavel tries to keep her in line. What are Madeline’s famous opening lines? More… Discuss



    The 1908 New York to Paris Race

    On February 12, 1908, six cars representing four nations—Germany, France, Italy, and the US—embarked on an automobile race from New York City to Paris. The challenge was daunting enough given the newness of the automobile and the unpaved nature—or nonexistence—of many roads, but the months-long journey also had to be re-routed at times due to impassable conditions. Only three cars managed to complete the race. The Germans reached Paris first, but the US team was declared the winner. Why? More…Discuss


    Unforgettable Compositions: Claude Debussy : Claude Debussy: Children’s Corner Suite L 113 with André Caplet 1911

    Claude Debussy : Children’s Corner Suite – orch. André Caplet 1911
    Orchestre National de l’O.R.T.F., Jean Martinon, 1974
    oboe: Jules Goetgheluk

    1. Doctor Gradus ad Parnassum
    2. Jimbo’s Lullaby
    3. Serenade for the Doll
    4. The Snow is Dancing
    5. The Little Shepherd
    6. Golliwogg’s Cakewalk

    Achille-Claude Debussy (aʃil klod dəbysi) (22 August 1862- 25 March 1918)

    Children’s Corner (L.113) is a six-movement suite for solo piano by Claude Debussy. It was published by Durand in 1908, and was given its world première in Paris by Harold Bauer on December 18 of that year. In 1911, an orchestration of the work by Debussy’s friend André Caplet received its première and was subsequently published.

    more info: http://en.wikipedia.org/wiki/Children…

    Max Bruch

    Max Bruch

    Max Christian Friedrich Bruch (6 January 1838 – 2 October 1920), also known as Max Karl August Bruch,[1] was a German Romanticcomposer and conductor who wrote over 200 works, including three violin concertos, the first of which has become a staple of the violin repertory.


    Bruch was born in CologneRhine Province, where he received his early musical training under the composer and pianist Ferdinand Hiller, to whom Robert Schumann dedicated his piano concerto in A minor. Bohemian composer and piano virtuoso Ignaz Moscheles recognized his aptitude.

    At the age of nine he wrote his first composition, a song for his mother’s birthday. From then on music was his passion, his studies enthusiastically supported by his parents. Many small early creative works included motets, psalm settings, piano pieces, violin sonatas, a string quartet and even orchestral works like the prelude to a planned opera “Joan of Arc”. Few of these early works have survived, however.

    The first music theory lesson was in 1849 in Bonn by Professor Heinrich Carl Breidenstein, a friend of his father. At this time he stayed at estate in Bergisch Gladbach, where he wrote much of his music. The farm belonged to the lawyer and notary Neissen, who lived in it with his unmarried sister. Later the estate was bought by the Zanders family who owned a large paper mill. The young Bruch was taught by his father in French and English conversation. In later years, Mary Zanders became a friend and patron.

    Bruch had a long career as a teacher, conductor and composer, moving among musical posts in Germany:Mannheim (1862–1864), Koblenz (1865–1867), Sondershausen, (1867–1870), Berlin (1870–1872), and Bonn, where he spent 1873–78 working privately. At the height of his career he spent three seasons as conductor of the Liverpool Philharmonic Society (1880–83). There he met his wife, Clara Tuczek. He taught composition at the Berlin Hochschule für Musik from 1890 until his retirement in 1910. Bruch died in his house in Berlin-Friedenau in 1920.

    Chopin- Waltz no. 7 in C sharp minor, Op. 64 no. 2

    Waltz no. 7 in C sharp minor
    Opus 64 no. 2
    Frederic Chopin

    Performed by Philippe Entremont


    Today’s Birthday: NATALIE CLIFFORD BARNEY (1876)

    Natalie Clifford Barney (1876)

    Though she was a writer for all of her adult life, Barney is not widely known today for her poetry, plays, novels, or epigrams. Instead, she is remembered for her strong support of female writers and for her openness about her homosexuality. For more than 60 years, she hosted an international salon at her Paris home. The well-attended gatherings frequently featured women’s works. She also wrote proudly about her love of women in a way that few, if any, had since what 6th-century BCE Greek poet?More…


    Claude Debussy: Images For Orchestra, L 122 – Iberia: Par Les Rues Et Par Les Chemins

    Claude Debussy: Images For Orchestra, L 122 – Iberia: Par Les Rues Et Par Les Chemins – Milan Horvat: ORF Symphony Orchestra.

    Achille-Claude Debussy (* 22. August 1862 in Saint-Germain-en-Laye; † 25. März 1918 in Paris) was a French composer of Impressionist, his music is as a link between romanticism and modernism.

    Erik Satie: Gnossienne No. 1, 2, 3

    Erik Satie: Gnossienne No. 1, 2, 3
    Pianist: Daniel Varsano
    For Gnossienne No. 4 and 5, go to: http://www.youtube.com/watch?v=Lq7yGl…


    Valentina Lisitsa: Chopin Berceuse Op 57 D Flat Major

    Valentina Lisitsa: Chopin Berceuse Op 57 D Flat Major


    Mozart Concerto D Minor K466 Freiburger Mozart-Orchester, Michael Erren,Valentina Lisitsa

    Filmed live May 20, 2012, Freiburg im Breisgau ,Germany
    Cadenzas by Mozart‘s favorite student – and billiards pal, Jan Nepomuk Hummel :-) 


    Chopin Grande Valse Brillante Op. 18 Valentina Lisitsa

    Grand Waltz Brilliante E Flat major op. 18


    Chopin “Heroic” Polonaise op 53 A flat major Valentina Lisitsa (MAGNIFICENT)

    Chopin “Heroic” Polonaise op 53 A flat major Valentina Lisitsa


    Beethoven “Moonlight” Sonata op 27 # 2 Mov 3 Valentina Lisitsa

    Recording in Beethovensaal, Hannover Germany, Dec 2009. Wilhelm Kempff recorded Beethoven cycle in the very same hall.
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    Valentina Lisitsa Live at the Royal Albert Hall
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    George Gershwin – An American in Paris

    This was performed in 1959 by the New York Philharmonic, conducted by Leonard Bernstein.

    An American in Paris is a symphonic tone poem by the American composer George Gershwin, written in 1928. Inspired by the time Gershwin had spent in Paris, it evokes the sights and energy of the French capital in the 1920s. It is one of Gershwin’s best-known compositions.
    Gershwin composed the piece on commission from the New York Philharmonic. He also did the orchestration (he did not orchestrate his musicals). Gershwin scored An American in Paris for the standard instruments of the symphony orchestra plus celesta, saxophones, and automobile horns. Gershwin brought back some Parisian taxi horns for the New York premiere of the composition, which took place on December 13, 1928 in Carnegie Hall, with Walter Damrosch conducting the New York Philharmonic.
    Gershwin collaborated on the original program notes with the critic and composer Deems Taylor, noting that: “My purpose here is to portray the impression of an American visitor in Paris as he strolls about the city and listens to various street noises and absorbs the French atmosphere.” When the tone poem moves into the blues, “our American friend … has succumbed to a spasm of homesickness.” But, “nostalgia is not a fatal disease.” The American visitor “once again is an alert spectator of Parisian life” and “the street noises and French atmosphere are triumphant.”


    J S Bach, Sicilienne BWV 1031 Valentina Lisitsa


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    Claude Debussy – La Mer

    La Mer” L.109, (The Sea), is an orchestral composition by Claude Debussy. It was started in 1903 in France and completed in 1905 on the English Channel coast in Eastbourne. The premiere was given by the Lamoureux Orchestra under the direction of Camille Chevillard on 15 October 1905 in Paris. “La Mer” is a composition of huge suggestion and subtlety in its rich depiction of the ocean, which combines unusual orchestration with daring impressionistic harmonies. The work has proven very influential, and its use of sensuous tonal colours and its orchestration methods have influenced many later film scores. While the structure of the work places it outside of both absolute music and programme music as those terms were understood in the early 20th century, it obviously uses descriptive devices to suggest wind, waves and the ambience of the sea. But structuring a piece around a nature subject without any literary or human element to it – neither people, nor mythology, nor ships are suggested in the piece – also was highly unusual at the time.
    Debussy called his work “three symphonic sketches,” avoiding the loaded term symphony; yet the work is sometimes called a symphony; it consists of two powerful outer movements framing a lighter, faster piece which acts as a type of scherzo. 
    “La Mer” is divided inot three movements:
    1. “De l’aube à midi sur la mer” (from dawn to midday on the sea);
    2. “Jeux de vagues” (Play of the Waves);
    3. “Dialogue du vent et de la mer” (Dialogue of the wind and the sea).

    Conductor: Vladimir Ashkenazy & Cleveland Orchestra


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    Patricia Kopatchinskaja – George Enescu Violin Sonata No.3, Op.25


    Valentina Lisitsa: Chopin Nocturne Op 48 No.1 C minor (What a precious musical interpretation!)

    One of Chopin’s most priceless performance remarks is at the beginning of this Nocturne — “sotto voce“. Just like that : not a girlish “piano” , not an ambivalent “mezzo forte” , not even meaty forte ( the last thing you want here is an “opera” voice for this melody ).It effectively bars all over-the-top cheap and showy “expressive emotions” — no eye rolling allowed , no hair flailing, no hands flying , no sobs , no visible tears…. A musical equivalent of the famed British ” keeping a stiff upper lip “- this “sotto voce” gives us the right sense of what this piece is about .Just as Chopin’s 2nd sonata this nocturne deals directly and openly with such tragic subjects as death, loss and grief … except , here you are allowed to leave personal comments. 2nd sonata is a depiction of all those things , this Nocturne is a commentary- or an epitaph…..the fifth movement that would come after the Finale …If you ever visit La Madeleine in Paris ( Chopin’s parish church where his funeral was held on October 30th ) think about this Nocturne , OK?

    PS. Talking about parallels between Rachmaninoff and Chopin works , don’t you think that “doppio movimento” part ( last pages ) sounds ominously like Rachmaninoff Etude-Tableau E flat Minor Op39?