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Watch “Je vous salue Marie-Georges Brassens” on YouTube

Par le petit garçon qui meurt près de sa mère
Tandis que des enfants s’amusent au parterre
Et par l’oiseau blessé qui ne sait pas comment
Son aile tout à coup s’ensanglante et descend
Par la soif et la faim et le délire ardent
Je vous salue, Marie

Par les gosses battus, par l’ivrogne qui rentre
Par l’âne qui reçoit des coups de pied au ventre
Et par l’humiliation de l’innocent châtié
Par la vierge vendue qu’on a déshabillée
Par le fils dont la mère a été insultée
Je vous salue, Marie

Par la vieille qui, trébuchant sous trop de poids
S’écrie “mon Dieu !” par le malheureux dont les bras
Ne purent s’appuyer sur une amour humaine
Comme la Croix du Fils sur Simon de Cyrène
Par le cheval tombé sous le chariot qu’il traîne
Je vous salue, Marie

Par les quatre horizons qui crucifient le monde
Par tous ceux dont la chair se déchire ou succombe
Par ceux qui sont sans pieds, par ceux qui sont sans mains
Par le malade que l’on opère et qui geint
Et par le juste mis au rang des assassins
Je vous salue, Marie

Par la mère apprenant que son fils est guéri
Par l’oiseau rappelant l’oiseau tombé du nid
Par l’herbe qui a soif et recueille l’ondée
Par le baiser perdu par l’amour redonné
Et par le mendiant retrouvant sa monnaie
Je vous salue, Marie

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Source: LyricFind

Songwriters: Georges Charles Brassens / Francis Jammes / Oswald Antoine Marie D’Andrea

La prière lyrics © Warner Chappell Music France

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Watch “Karen Carpenter-Don’t Cry For Me Argentina” on YouTube

It won’t be easy, you’ll think it strange
When I try to explain how I feel
That I still need your love after all that I’ve done

You won’t believe me
All you will see is a girl you once knew
Although she’s dressed up to the nines
At sixes and sevens with you

I had to let it happen, I had to change
Couldn’t stay all my life down at heel
Looking out of the window, staying out of the sun

So I chose freedom
Running around, trying everything new
But nothing impressed me at all
I never expected it to

Don’t cry for me Argentina
The truth is I never left you
All through my wild days
My mad existence
I kept my promise
Don’t keep your distance

And as for fortune, and as for fame
I never invited them in
Though it seemed to the world they were all I desired

They are illusions
They are not the solutions they promised to be
The answer was here all the time
I love you and hope you love me

Don’t cry for me Argentina

Don’t cry for me Argentina
The truth is I never left you
All through my wild days
My mad existence
I kept my promise
Don’t keep your distance

Have I said too much?
There’s nothing more I can think of to say to you.
But all you have to do is look at me to know
That every word is true

Source: LyricFind

Songwriters: Andrew Lloyd Webber / Tim Rice

Don’t Cry for Me Argentina lyrics © Universal Music Publishing Group

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In articulo mortis (At the moment of death)
Caelitus mihi vires (My strength is from heaven)

Nearer, my God, to thee,
Nearer to thee!
E’en though it be a cross
That raiseth me.

In articulo mortis (At the moment of death)
Caelitus mihi vires (My strength is from heaven)
Deo adjuvante non timendum (God helps, nothing should be feared)
In perpetuum (For ever)

Dirige nos domine (Direct us, O Lord)
Ad augusta per angusta (To high places by narrow roads)
Sic itur ad astra (Such is the path to the stars)
Excelsior

Still all my song shall be

Nearer, my God, to thee,
Nearer, my God, to thee,
Nearer to thee!

Though like the wanderer,
The sun gone down,
Darkness be over me,
My rest a stone,

Angels to beckon me
Nearer, my God, to thee,
Nearer, my God, to thee,
Nearer to thee!

Or if, on joyful wing
Cleaving the sky,
Sun, moon, and stars forgot,
Upward I fly,

Excelsior

Source: Musixmatch

Songwriters: Dp

Nearer, My God, to Thee lyrics © Byu Music Publishing Group

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No, I don’t know where I’m goin’
But I sure know where I’ve been
Hanging on the promises in songs of yesterday
And I’ve made up my mind
I ain’t wasting no more time

Though I keep searchin’ for an answer
I never seem to find what I’m lookin’ for
Oh Lord, I pray you give me strength to carry on
‘Cause I know what it means
To walk along the lonely street of dreams

And here I go again on my own
Goin’ down the only road I’ve ever known
Like a drifter, I was born to walk alone
And I’ve made up my mind
I ain’t wasting no more time

Just another heart in need of rescue
Waiting on love’s sweet charity
I’m gonna hold on for the rest of my days
‘Cause I know what it means
To walk along the lonely street of dreams

And here I go again on my own
Goin’ down the only road I’ve ever known
Like a drifter, I was born to walk alone
And I’ve made up my mind
I ain’t wasting no more time
But here I go again
Here I go again
Here I go again
Ooh baby, ooh yeah

And I’ve made up my mind
Ooh baby, ain’t wasting no more time

And here I go again on my own
Goin’ down the only road I’ve ever known
Like a drifter, I was born to walk alone
‘Cause I know what it means
To walk along the lonely street of dreams
Here I go again on my own
Goin’ down the only road I’ve ever known

Source: LyricFind

Songwriters: David Coverdale / Bernie Marsden

Here I Go Again lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc

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Watch “Queen – Under Pressure (Official Video)” on YouTube

Mmm num ba de
Dum bum ba be
Doo buh dum ba beh beh

Pressure pushing down on me
Pressing down on you, no man ask for
Under pressure that burns a building down
Splits a family in two
Puts people on streets

Um ba ba be
Um ba ba be
De day da
Ee day da, that’s okay

It’s the terror of knowing what the world is about
Watching some good friends screaming
“Let me out!”
Pray tomorrow gets me higher
Pressure on people, people on streets

Day day de mm hm
Da da da ba ba
Okay
Chipping around, kick my brains around the floor
These are the days it never rains but it pours
Ee do ba be
Ee da ba ba ba
Um bo bo
Be lap
People on streets
Ee da de da de
People on streets
Ee da de da de da de da

It’s the terror of knowing what the world is about
Watching some good friends screaming
‘Let me out’
Pray tomorrow gets me higher, high
Pressure on people, people on streets

Turned away from it all like a blind man
Sat on a fence but it don’t work
Keep coming up with love but it’s so slashed and torn
Why, why, why?
Love, love, love, love, love
Insanity laughs under pressure we’re breaking

Can’t we give ourselves one more chance?
Why can’t we give love that one more chance?
Why can’t we give love, give love, give love, give love
Give love, give love, give love, give love, give love?

‘Cause love’s such an old fashioned word
And love dares you to care for
The people on the edge of the night
And love (people on streets) dares you to change our way of
Caring about ourselves
This is our last dance
This is our last dance
This is ourselves under pressure
Under pressure
Pressure

Source: LyricFind

Songwriters: David Bowie / John Richard Deacon / Brian Harold May / Freddie Mercury / Roger Meddows Taylor

Under Pressure (Remastered) lyrics © Kobalt Music Publishing Ltd., Sony/ATV Music Publishing LLC, Spirit Music Group, Tintoretto Music

Watch “Antonín Dvořák – Le Rouet d’or/The Golden Spinning Wheel, poème symphonique B. 197 (op. 109)” on YouTube

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Poèmes symphoniques de Dvořák

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Ces Poèmes symphoniques sont des œuvres de la maturité d’Antonín Dvořák et ont été inspirés, à l’exception du Chant du héros, par des contes en vers de Karel Jaromír Erbenissus des légendes populaires transmises par la tradition orale tchèque. Ils ont été composés après son séjour américain, lors de son retour en Bohême en 1896 et constituent les dernières œuvres pour orchestre du compositeur. Au nombre de cinq, ils sont représentatifs d’une musique à programme. Ils peuvent être rapprochés, dans la démarche, des Ouvertures de concert ou du cycle Má Vlast de Smetana.
Les trois premiers, entrepris en janvier, sont rapidement achevés dès avril et le quatrième, la Colombe, à l’automne. Le Chant du héros est composé début 1897.

L’Ondin (Vodník), B. 195 (op. 107)

La Sorcière de midi(Polednice), B. 196 (op. 108)

Le Rouet d’or(Zlatý kolovrat), B. 197 (op. 109)

La Colombe(Holoubek), B. 198 (op. 110)

Le Chant du héros(Píseň bohatýrská), B. 199 (op. 111)

Notes et références

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Dernière modification il y a 16 jours par JulienLEU



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Frédérick Chopin

Chopin, daguerreotype by Bisson, c. 1849Frédéric François Chopin(UK: /ˈʃɒpæ̃/, US: /ʃoʊˈpæn/,[1][2]French: [ʃɔpɛ̃], Polish: [ˈʂɔpɛn]; 1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of the Romantic era who wrote primarily for solo piano. He has maintained worldwide renown as a leading musician of his era, one whose “poetic genius was based on a professional technique that was without equal in his generation.”[3]

Chopin was born Fryderyk Franciszek Chopin in the Duchy of Warsaw and grew up in Warsaw, which in 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his earlier works in Warsaw before leaving Poland at the age of 20, less than a month before the outbreak of the November 1830 Uprising. At 21, he settled in Paris. Thereafter—in the last 18 years of his life—he gave only 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself by selling his compositions and by giving piano lessons, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many of his other musical contemporaries (including Robert Schumann).
After a failed engagement to Maria Wodzińska from 1836 to 1837, he maintained an often troubled relationship with the French writer Amantine Dupin (known by her pen name, George Sand). A brief and unhappy visit to Majorca with Sand in 1838–39 would prove one of his most productive periods of composition. In his final years, he was supported financially by his admirer Jane Stirling, who also arranged for him to visit Scotland in 1848. For most of his life, Chopin was in poor health. He died in Paris in 1849 at the age of 39, probably of pericarditis aggravated by tuberculosis.
All of Chopin’s compositions include the piano. Most are for solo piano, though he also wrote two piano concertos, a few chamber pieces, and some 19 songs set to Polish lyrics. His piano writing was technically demanding and expanded the limits of the instrument: his own performances were noted for their nuance and sensitivity. Chopin invented the concept of the instrumental ballade. His major piano works also include mazurkas, waltzes, nocturnes, polonaises, études, impromptus, scherzos, preludes and sonatas, some published only posthumously. Among the influences on his style of composition were Polish folk music, the classical tradition of J. S. Bach, Mozart, and Schubert, and the atmosphere of the Paris salons of which he was a frequent guest. His innovations in style, harmony, and musical form, and his association of music with nationalism, were influential throughout and after the late Romantic period.
Chopin’s music, his status as one of music’s earliest superstars, his (indirect) association with political insurrection, his high-profile love-life, and his early death have made him a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying historical fidelity.

Life

Childhood

Chopin’s birthplace in Żelazowa WolaFryderyk Chopin was born in Żelazowa Wola,[4] 46 kilometres (29 miles) west of Warsaw, in what was then the Duchy of Warsaw, a Polish state established by Napoleon. The parish baptismal record gives his birthday as 22 February 1810, and cites his given names in the Latin form Fridericus Franciscus[4] (in Polish, he was Fryderyk Franciszek).[5] However, the composer and his family used the birthdate 1 March,[n 1][4] which is now generally accepted as the correct date.[7]Chopin’s father, Nicolas Chopin, by Ambroży Mieroszewski, 1829Watch given by soprano Angelica Catalani to 9-year-old Chopin on 3 January 1820Fryderyk’s father, Nicolas Chopin, was a Frenchman from Lorraine who had emigrated to Poland in 1787 at the age of sixteen.[8] Nicolas tutored children of the Polish aristocracy, and in 1806 married Tekla Justyna Krzyżanowska,[9] a poor relative of the Skarbeks, one of the families for whom he worked.[10] Fryderyk was baptised on Easter Sunday, 23 April 1810, in the same church where his parents had married, in Brochów.[4]His eighteen-year-old godfather, for whom he was named, was Fryderyk Skarbek, a pupil of Nicolas Chopin.[4]Fryderyk was the couple’s second child and only son; he had an elder sister, Ludwika (1807–1855), and two younger sisters, Izabela (1811–1881) and Emilia (1812–1827).[11] Nicolas was devoted to his adopted homeland, and insisted on the use of the Polish language in the household.[4]
In October 1810, six months after Fryderyk’s birth, the family moved to Warsaw, where his father acquired a post teaching French at the Warsaw Lyceum, then housed in the Saxon Palace. Fryderyk lived with his family in the Palace grounds. The father played the flute and violin;[12] the mother played the piano and gave lessons to boys in the boarding house that the Chopins kept.[13] Chopin was of slight build, and even in early childhood was prone to illnesses.[14]
Fryderyk may have had some piano instruction from his mother, but his first professional music tutor, from 1816 to 1821, was the Czech pianist Wojciech Żywny.[15] His elder sister Ludwika also took lessons from Żywny, and occasionally played duets with her brother.[16] It quickly became apparent that he was a child prodigy. By the age of seven Fryderyk had begun giving public concerts, and in 1817 he composed two polonaises, in G minor and B-flat major.[17] His next work, a polonaise in A-flat major of 1821, dedicated to Żywny, is his earliest surviving musical manuscript.[15]
In 1817 the Saxon Palace was requisitioned by Warsaw’s Russian governor for military use, and the Warsaw Lyceum was reestablished in the Kazimierz Palace (today the rectorate of Warsaw University). Fryderyk and his family moved to a building, which still survives, adjacent to the Kazimierz Palace. During this period, Fryderyk was sometimes invited to the Belweder Palace as playmate to the son of the ruler of Russian Poland, Grand Duke Constantine Pavlovich of Russia; he played the piano for Constantine Pavlovich and composed a march for him. Julian Ursyn Niemcewicz, in his dramatic eclogue, “Nasze Przebiegi” (“Our Discourses”, 1818), attested to “little Chopin’s” popularity.[18]EducationEditFrom September 1823 to 1826, Chopin attended the Warsaw Lyceum, where he received organ lessons from the Czech musician Wilhelm Würfelduring his first year. In the autumn of 1826 he began a three-year course under the Silesian composer Józef Elsner at the Warsaw Conservatory, studying music theory, figured bass, and composition.[19][n 2] Throughout this period he continued to compose and to give recitals in concerts and salons in Warsaw. He was engaged by the inventors of the “aeolomelodicon” (a combination of piano and mechanical organ), and on this instrument, in May 1825 he performed his own improvisation and part of a concerto by Moscheles. The success of this concert led to an invitation to give a recital on a similar instrument (the “aeolopantaleon”) before Tsar Alexander I, who was visiting Warsaw; the Tsar presented him with a diamond ring. At a subsequent aeolopantaleon concert on 10 June 1825, Chopin performed his Rondo Op. 1. This was the first of his works to be commercially published and earned him his first mention in the foreign press, when the Leipzig Allgemeine Musikalische Zeitungpraised his “wealth of musical ideas”.[20]Józef Elsner (after 1853)During 1824–28 Chopin spent his vacations away from Warsaw, at a number of locales.[n 3] In 1824 and 1825, at Szafarnia, he was a guest of Dominik Dziewanowski, the father of a schoolmate. Here for the first time, he encountered Polish rural folk music.[22] His letters home from Szafarnia (to which he gave the title “The Szafarnia Courier”), written in a very modern and lively Polish, amused his family with their spoofing of the Warsaw newspapers and demonstrated the youngster’s literary gift.

Watch “Premonitions — Vaults” on YouTube

Let’s take it right back to where we used to go
But we never look back
No, we only look forward to all the new pain
And violence that we blame

No, we never look back
No, we only look forward with all our faith
Hearts broken from the start
With the fear that we were born to fall
Only to be held tall by the writing on the wall
We don’t need no premonitions, no

Let’s take it right back to where it all began
But we never look back
No, we only look forward to all the new shame
And waste of what we gain

Still we never look back
No, we only look forward
With all our fate, hearts, broken from the start
With the fear that we were born to fall
Only to be held tall, by the writing on the wall
We don’t need no premonitions, no

Let’s take it right back to where we used to go
But we never look back
No, we only look forward
With all our fate, hearts, broken from the start
With the fear that we were born to fall
Only to be held tall by the writing on the wall
We don’t need no premonitions, no

We don’t need no premonitions, no

Source: Musixmatch

Songwriters: Freeman Barnabas William Henry / Pepino Blythe Constance Rose / Vella Benjamin Oliver

Premonitions lyrics © Wb Music Corp., Three Six Zero Music Publishing Limited, W B Music Corp

Watch “King of The Road – Roger Miller – 1965” on YouTube

Trailers for sale or rent, rooms to let, fifty cents
No phone, no pool, no pets, I ain’t got no cigarettes
Ah, but, two hours of pushin’ broom
Buys an eight by twelve four-bit room
I’m a man of means by no means, king of the road

Third boxcar, midnight train, destination Bangor, Maine
Old worn-out suits and shoes
I don’t pay no union dues
I smoke old stogies I have found, short, but not too big around
I’m a man of means by no means, king of the road

I know every engineer on every train
All their children, and all of their names
And every hand out in every town
And every lock that ain’t locked when no one’s around

I sing, trailers for sale or rent, rooms to let, fifty cents
No phone, no pool, no pets, I ain’t got no cigarettes
Ah, but, two hours of pushin’ broom
Buys an eight by twelve four-bit room
I’m a man of means by no means, king of the road

Trailers for sale or rent, rooms to let, fifty cents
No phone, no pool, no pets, I ain’t got no cigarettes
Ah, but, two hours of pushin’ broom
Buys an eight by twelve four-bit room

Source: LyricFind

Songwriters: Roger Miller

King of the Road lyrics © Sony/ATV Music Publishing LLC

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