#partitionmusicale

[sheetmusiclibrarypdf]

Ennio Morricone (1928-2020)

Ennio Morricone, (10 November 1928 – 6 July 2020) Best Sheet Music download from our Library.Short biographyMorricone composed over 400 scores for cinema and television, as well as over 100 classical works. He started as a talented football player for A.S. Roma but left the sport to follow his passion for music. Please, subscribe to our Library. Thank you! List of compositions by Ennio MorriconeFilmography 1950s 1960s 1970s 1980s 1990s 2000s 2010s Television films and series1960s 1970s 1980s 1990s 2000sStage productions Radio productions Advertising campaigns Selected films with music by Morricone Classic (absolute) music Live albums Studio albumswith Gruppo di Improvvisazione di Nuova Consonanza with Mauro Maur with Chico Buarque Other Selected compilations Remix albums Box sets DVDs Tribute albums

Ennio Morricone, (10 November 1928 – 6 July 2020)

Morricone was an Italian composer, orchestrator, conductor, and former trumpet player who wrote music in a wide range of styles. https://youtu.be/Jjq6e1LJHxw Short biography Morricone composed over 400 scores for cinema and television, as well as over 100 classical works. He started as a talented football player for A.S. Roma but left the sport to follow his passion for music. His score to The Good, the Bad and the Ugly (1966) is considered one of the most influential soundtracks in history and was inducted into the Grammy Hall of Fame. His filmography includes over 70 award-winning films, all Sergio Leone‘s films since A Fistful of Dollars, all Giuseppe Tornatore‘s films since Cinema Paradiso, The Battle of Algiers, Dario Argento‘s Animal Trilogy, 1900, Exorcist II, Days of Heaven, several major films in French cinema, in particular the comedy trilogy La Cage aux Folles I, II, III and Le Professionnel, as well as The Thing, The Mission, The Untouchables, Mission to Mars, Bugsy, Disclosure, In the Line of Fire, Bulworth, Ripley’s Game and The Hateful Eight. After playing the trumpet in jazz bands in the 1940s, he became a studio arranger for RCA Victor and in 1955 started ghost writing for film and theatre. Throughout his career, he composed music for artists such as Paul Anka, Mina, Milva, Zucchero and Andrea Bocelli. From 1960 to 1975, Morricone gained international fame for composing music for Westerns and—with an estimated 10 million copies sold—Once Upon a Time in the West is one of the best-selling scores worldwide. From 1966 to 1980, he was a main member of Il Gruppo, one of the first experimental composers collectives, and in 1969 he co-founded Forum Music Village, a prestigious recording studio. From the 1970s, Morricone excelled in Hollywood, composing for prolific American directors such as Don Siegel, Mike Nichols, Brian De Palma, Barry Levinson, Oliver Stone, Warren Beatty, John Carpenter and Quentin Tarantino.

In 1977, Morricone composed the official theme for the 1978 FIFA World Cup. He continued to compose music for European productions, such as Marco Polo, La piovra, Nostromo, Fateless, Karol and En mai, fais ce qu’il te plait. Morricone’s music has been reused in television series, including The Simpsons and The Sopranos, and in many films, including Inglourious Basterds and Django Unchained. He also scored seven Westerns for Sergio Corbucci, Duccio Tessari‘s Ringo duology and Sergio Sollima‘s The Big Gundown and Face to Face. Morricone worked extensively for other film genres with directors such as Bernardo Bertolucci, Mauro Bolognini, Giuliano Montaldo, Roland Joffé, Roman Polanski and Henri Verneuil. His acclaimed soundtrack for The Mission (1986) was certified gold in the United States. The album Yo-Yo Ma Plays Ennio Morricone stayed 105 weeks on the Billboard Top Classical Albums.

In 2007, he received the Academy Honorary Award “for his magnificent and multifaceted contributions to the art of film music.” He has been nominated for a further six Oscars. In 2016, Morricone received his first competitive Academy Award for his score to Quentin Tarantino’s film The Hateful Eight, at the time becoming the oldest person ever to win a competitive Oscar.

His other achievements include three Grammy Awards, three Golden Globes, six BAFTAs, ten David di Donatello, eleven Nastro d’Argento, two European Film Awards, the Golden Lion Honorary Award and the Polar Music Prize in 2010. Morricone has influenced many artists from film scoring to other styles and genres, including Hans Zimmer,Danger Mouse, Dire Straits, Muse, Metallica, and Radiohead. Morricone’s Sheet music is fully available in our Library.

List of compositions by Ennio Morricone

This is a list of compositions by composer, orchestrator and conductor Ennio Morricone. He composed and arranged scores for more than 400 film and television productions. Morricone was considered one of the most influential and best-selling film composers since the late 1940s He has sold well over 70 million records worldwide, including 6.5 million albums and singles in France over three million in the United States and more than two million albums in Korea. In 1971, the composer received his first golden record (disco d'oro) for the sale of 1,000,000 records in Italy and a "Targa d'Oro" for the worldwide sales of 22 million. His score for Sergio Leone's Once Upon a Time in the West is one of the top 5 best-selling original instrumental scores in the world today, with about 10 million copies sold. His score for The Mission (1986) was also at one point the world's best selling score. Morricone's music for The Good, the Bad and the Ugly (1966) and Le Professionnel (1981) each sold over 3 million copies worldwide. Filmography 1950s YearTitleDirectorNotes1955AbandonedFrancesco MaselliOrchestrations only Score composed by Giovanni Fusco1959La duchessa di Santa LuciaRoberto Bianchi MonteroOrchestrations only Score composed by Giorgio FaborDeath of a FriendFranco RossiConducting only Score composed by Mario Nascimbene 1960s YearTitleDirectorNotesLatest CD / Digital Release1960Run with the DevilMario CameriniOrchestrations only Score composed by Piero Piccioni,LipstickDamiano DamianiOrchestrations only Score composed by Giovanni FuscoL'avventuraMichelangelo AntonioniLe pillole di ErcoleLuciano SalceRejected score Replaced by Armando Trovajoli1961The FascistLuciano SalceFirst full scoreThe Last JudgmentVittorio De SicaArrangements and Conducting only Score composed by Alessandro Cicognini,1962L'italiano ha 50 anniFrancomaria TrapaniOrchestrations only Composed by Gino Peguri,Gli italiani e le vacanzeFilippo Walter RattiDocumentary filmI motorizzatiCamillo MastrocinqueCrazy DesireLuciano SalceIl sorpassoDino RisiOrchestrations only Score composed by Riz OrtolaniI due della legione stranieraLucio FulciArrangements and Conducting only Score composed by Luis BacalovEighteen in the SunCamillo MastrocinqueA Girl...and a MillionLuciano Salce1963Violenza segretaGiorgio MoserOrchestrations only Score composed by Giovanni FuscoIl SuccessoDino RisiLe monachineLuciano Salce—El GrecoGunfight at Red SandsRicardo Blasco Mario CaianoFirst Western film scoreI basilischiLina Wertmüller—1964Una Nuova fonte di energiaDaniele G. LuisiDocumentary filmMalamondoPaolo Cavara—CAM Sugar / 2021I maniaciLucio FulciComposed with Carlo RustichelliI marziani hanno 12 maniFranco Castellano Giuseppe Moccia—In ginocchio da teEttore Fizzarotti—Bullets Don't ArgueMario Caiano—A Fistful of DollarsSergio LeoneSilver Ribbon Award for Best ScoreI due evasi da Sing SingLucio Fulci—Quartet Records / QR445 / 2021Before the RevolutionBernardo Bertolucci—...e la donna creò l'uomo Camillo Mastrocinque—1965A Pistol for RingoDuccio Tessari—Nightmare CastleMario CaianoFirst horror film scoreAgent 077: Mission Bloody MarySergio GriecoTitle song only Score composed by Angelo Francesco LavagninoHighest PressureEnzo TrapaniComposed with Luis Enriquez BacalovSlalomLuciano Salce—Menage all'italianaFranco Indovina—Fists in the PocketMarco Bellocchio—ThrillingCarlo Lizzani Gianni Luigi Polidori Ettore ScolaComposed with Bruno NicolaiNon son degno di teEttore Fizzarotti—Se non avessi più teIdoli controluceEnzo Battaglia—For a Few Dollars MoreSergio Leone—The Return of RingoDuccio Tessari—1966The Bible: In the BeginningJohn HustonFirst American film Uncredited; Composed with Toshiro MayuzumiSeven Guns for the MacGregorsFranco Giraldi—Wake Up and DieCarlo Lizzani—Agent 505: Death Trap in BeirutManfred R. KöhlerComposed with Bruno NicolaiThe Hawks and the SparrowsPier Paolo PasoliniNominated - Silver Ribbon Award for Best ScoreThe Battle of AlgiersGillo PontecorvoComposed with PontecorvoThe Hills Run RedCarlo Lizzani—Un uomo a metàVittorio De Seta—How I Learned to Love WomenLuciano Salce—For a Few Extra DollarsGiorgio FerroniComposed with Gianni FerrioFlorence: Days of DestructionFranco ZeffirelliDocumentary filmNavajo JoeSergio Corbucci—The Big GundownSergio Sollima—Beat Records / BCM9603 / 2022The Read the full article

[sheetmusiclibrarypdf]

Django (1910-1953) The Life of a Gypsy Jazz Guitarist

Django (1910-1953) The Life of a Gypsy Jazz Guitarist Best Sheet Music download from our Library.The Beginning of the magician guitarist Please, subscribe to our Library. Thank you! Best of Django Reinhardt

Django (1910-1953) The Life of a Gypsy Jazz Guitarist

Jean Reinhardt (23 January 1910 – 16 May 1953), known by his Romani nickname Django, was a Romani-Belgian jazz guitarist and composer. He was one of the first major jazz talents to emerge in Europe and has been hailed as one of its most significant exponents. The Beginning of the magician guitarist HE WAS KNOWN AS DJANGO, a Gypsy name meaning “I awake.” His legal name—the name the gendarmes and border officials entered into their journals as his family crisscrossed Europe in their horsedrawn caravan—was Jean Reinhardt. But when the family brought their travels to a halt alongside a hidden stream or within a safe wood to light their cookfire, they called him only by his Romany name. Even among his fellow Gypsies, “Django” was a strange name, a strong, telegraphic sentence due to its first-person verb construction. It was a name of which Django was exceedingly proud. It bore an immediacy, a sense of life, and a vision of destiny. He was born in a caravan at a crossroads in the dead of winter. Following the dirt paths and cobblestone roads north from the Midi of France in the fall of 1909, his father, Jean-Eugène Weiss, steered the family’s single horse to pull their caravan creaking and swaying onto the wide open plains of Belgium. Here, the land was so flat it gave the impression one could see to the ends of the earth. The wet wind whipped down from the Atlantic unimpeded in its cold fury. Riding on the wind came dark rains that seemed never-ending, turning day into night for months on end until one prayed for even the weakest rays of sun. Reining in his horse, Jean-Eugène brought the family’s perennial travels to a halt at the crossroads of Les Quatre Bras. As they had done for countless years past, the family would weather the winter in a rendezvous outside the Belgian village of Liberchies in the southwestern Hainaut region. They camped amid a small troupe of fellow Romanies to huddle through the coldest months alongside the Flache ôs Coûrbôs—the Pond of the Ravens— named for a coven of the black birds that haunted the surrounding trees. With fresh water from a stream and fodder for their horse from the fallow fields, the family settled in as much as they ever settled anywhere. Jean-Eugène’s caravan—called a vurdon in Romany and roulotte in French— was a typical Gypsy home of the era. The family lived in a wooden box measuring roughly seven feet wide by fourteen feet long and six feet high. This box was mounted atop two axles bearing wooden-spoked wheels. Traces and tack held their single horse while a simple bench supported the driver. At the rear, steps led to the entry door. The typical Romany caravan of the time had small windows on either side letting in daylight; these windows were covered by handcrafted lace curtains—the kind of domestic touch that made a caravan a home. Inside, a cast-iron stove was bolted to the floor; fed on wood and coal, it glowed transparent red in the winter and warmed the whole of the caravan. Across the front end, a bedchamber dominated, surmounting chests of drawers storing belongings, quilts, and blankets. A corner of the caravan was set aside as a shrine with a framed lithograph turned into an object of worship. The image depicting the French Gypsies’ patron saint, Sara-la-Kâli, was draped with strands of vari-colored beads and lit by votive candles. Underneath the caravan hung wooden crates containing tarps, tools, water buckets, feed for the horse, and cages for ducks and chickens that might be spirited away from farmsteads along the road. Running the roofline and around the doorway was carved scrollwork painted in the most brilliant golds, scarlets, and indigos possible and shining like a gilt crown on a religious effigy. Within this small home-on-wheels lived the family: Jean-Eugène, his wife Laurence Reinhardt, Jean-Eugène’s ten-year-old daughter, and another, younger son, both of whose names have been lost. Beyond the half-moon rooftop and spindly stovepipe of the family’s caravan, the staunch red-brick houses of Liberchies led up to the grand gothic church of Saint-Pierre-de-Liberchies, its heavenward spire towering high over the level countryside. The Belgians said of themselves that they were born with a rock in their stomach to start building their houses, so infatuated were they with their homes and the security of a firm foundation. Now, in wintertime, the solid houses of the 700 inhabitants of Liberchies were warmed by charcoal braziers. Electric radios bringing news of the world and diversion in the dark evenings were winning pride of place on mantels. And around town, the automobile was coming to rule the roads, terrifying Romany horses as the horseless carriages rattled by. The modern world of 1909 had left the Gypsies in its dust. Still, the arrival of Jean-Eugène’s family and their kumpania, or traveling clan, of Gypsies was celebrated each autumn by the people of Liberchies with a bazaar organized in their honor, the Kermesse du Fichaux. Swirling wit color into the gray of a Belgian fall, the Gypsies sold the jewelry, baskets, and lacework they fashioned as well as wares from their far travels. They told fortunes, unwinding the paths of a life from the tangle of lines on a palm, auguring greatness and love, selling charms to ward off evil. Some specialized in mending wicker chair seats. Others patched copper cooking pots the Belgian village women brought; with a concerto of pounding, a pot could be made as good as new with metalwork changed little since the armoring of knights. Still other Gypsies traded horses with the farmers, wheeling and dealing, examining teeth for age and hooves for lameness. The Gypsies were known as maquignons—literally, horse fakers—who magically dressed up horses for sale, and the farmers looked for their timeless trademark tricks—shoe polish hiding grizzled hair, a diet of water to fill out ribcage staves, a spike of ginger in the anus for spirit. It was all an ages-old exchange between the Gypsies and townspeople of Europe. Jean-Eugène was un vannier—a basketmaker. Yet he also wore other hats, a necessity for survival on the road. Now 27, he was born in 1882, although no one remembered where. In the sole surviving photograph of him, taken in Algeria in 1915, Jean-Eugène looks more like the prosperous mayor of a French city than a traveling Gypsy. His dark hair is combed back from his broad forehead above virile eyebrows and the penetrating eyes that dominate his face. His cheekbones are pronounced, his mouth hidden behind the usual mustache, a symbol of masculinity affected by most Gypsy men as soon as they can cultivate one. Dapper in a dark suit, he appears distinguished and, above all, wise from a lifetime of having seen many things in many lands with those piercing eyes. As the Romany proverb went, He who travels, learns. Basketmaking was labor Jean-Eugène only did when times were tough. He boasted a special talent: Jean-Eugène was an entertainer, another timelessmétier of the Gypsies. He could juggle with the best circus sideshowmen and tease audiences with the mysteries of legerdemain. But Jean-Eugène’s pride was in playing music—violin, cymbalom, piano, guitar—and directing a dance orchestra of Romanies. It is this pride that shines in his eyes in the photograph: He is seated at his piano with his band arrayed around him. And while the hands of the musician next to him look like those of a peasant who could be holding a plow as indifferently as they grip his viola, Jean-Eugène’s hands are crossed before him in regal manner. Even in this ancient photograph, they look like the fine hands of an artist. To earn a few francs on the side, Jean-Eugène tuned pianos. He also repaired other musical instruments. He might find a damaged violin at a flea market, barter for it on the cheap, rebuild it, and sell it again down the road. But it was as a musician that he supported his family. He modified the rear of his family’s caravan to create a diminutive, canvas-covered traveling theater stage on which he and his wife performed for townsfolk their magical and musical menageries. Laurence Reinhardt was introduced on the family’s stage as La Belle Laurence. Among the Romanies and in honor of her dark beauty, Laurence was known as Négros—Spanish for “black.” She made jewelry to sell, but sh came alive as a dancer. At 24, she was renowned for her ravishing flow of movement, and even in her old age, Négros was moved to dance as soon as the music began. She traded on her exotic tea-toned complexion, raven-black hair, and tall stature. In a photograph of the time, she is handsome with a masculine strength to her face—a jutting jaw that seems determined even in repose and eyes that look like they feared nothing. It was on the eve of one of the family’s performances in Liberchies that Django was born. The night of Sunday, January 23, 1910, was bitter with cold. The townsfolk gathered for the annual show of Jean-Eugène and hi Romany troupe at the inn of Adrien Borsin known familiarly as Chez Borsin. Happy for entertainment as an anodyne against the emptiness of winter, the townsfolk were looking forward to Jean-Eugène’s music, the burlesque comedy of his friend Louis Ortica, and the dance of La Belle Laurence. But this year, events conspired against the evening. Négros was in her caravan alongside the Pond of the Ravens, lost in the pains of childbirth. She had set off on foot to walk into town to perform at Chez Borsin when the contractions began. Jean-Eugène continued on to perform while the Gypsy women ushered Négros back to the camp, lit candles against the darkness, and gathered clean cloths to deliver her first child. As the distant sound of applause came to them from town, Django was born. THREE DAYS LATER on January 26, Jean-Eugène and Négros wrapped Django against the cold and set out with their fellow Romanies for the church of Saint-Pierre-de-Liberchies. They filed into the baptistery dressed in their finest suits and most brilliant dresses, fedoras held humbly in hand. Joining the Gypsies were several townspeople, also in their Sunday best. Adrien Borsin stood front and center. He was a stout, rotund man who appeared to enjoy his restaurant’s fare to the fullest. At Borsin’s side was his sister, Isabelle, a staunch matron with primly trimmed hair. Symbolizing the rare friendship between the Romanies and the townsfolk, the Borsins were serving as Django’s sponsors and godparents.

Following the name-giving ceremony and baptism, Jean-Eugène and Négros hosted a celebration for their newborn son. Chez Borsin was alive again with a feast and music. The family’s clan of Manouche Gypsies did not celebrate marriages, but a baptism—especially a couple’s firstborn—was a grand affair. Jean-Eugène applied for a birth certificate for his son with the town secretary, Henri Lemens, on January 24. In the exquisite penmanship of a turn-of-thecentury bureaucrat, Lemens entered Django’s legal name as “Jean Reinhardt.” For his part, Jean-Eugène gave his own name as “Jean-Baptiste Reinhard”— an alias to mask him from the French gendarmes who sought him for military conscription—and he signed with the practiced yet unsure hand of an illiterate at the bottom of the birth certificate, “J. B. Reinhard.” Lemens ignored the orthography and added a final “t” to the newborn’s name, corresponding to the French pronunciation of the Alsatian name. Such a revision of a Romany’s identity was common throughout Europe, a simple yet subtle act of cruelty, a reworking of a person’s legal being by an allpowerful border official or bureaucrat. The hegira of Gypsy names began with requirements that Romanies bear Christian given names and family surnames for identification. These random names were chosen by chance during a Gypsy’s travels and bore little meaning for their owners; among themselves, they went solely by their Romany names. They adopted surnames of the country in which they lived in a charade of assimilation to mask their Gypsy identity. When they crossed a border or signed a document, officials often transliterated and twisted their legal names in spelling and eventually even in pronunciation. At the same time, Gypsies surreptitiously altered their own surnames as needed, changing their legal identities like they changed their shirts. Jean-Eugène’s surname was often written phonetically in France as Vées, and he and his brothers sometimes also hid behind the alias Schmitt when the gendarmes were on their trail. Négros’s Alsatian surname of Reinhardt—literally someone from the heart of the Rhineland—was likely chosen for expedience by her ancestors who long lived around Strasbourg in Alsace. By these various forces, Django was registered as Jean Reinhardt. Django was given the legal name Jean in honor of his father, but it was his Gypsy name that bore his true identity. Gypsies chose a Romany name for their child evoking a physical attribute, such as Baro (Big, or often, First Born), or natural phenomena, including Chata (Shadow) or Zuna (Sun). Animal names served as totems—such as Bero (Bear)—while girls were given flowery names like Fayola (Violet) and Draka (Grape). Names might mirror a child’s personality or the parent’s hopes, including Grofo (Noble) and Schnuckenack (Glorious Music). Tchavolo or Tchocolo (Boy or Son) and Tchaj (Girl or Daughter) were simple references to the child’s sex whereas other names like Bimbam and Boulou were onomatopoeia echoing a baby’s babbling. In naming their firstborn son Django, Négros and Jean-Eugène chose a Romany verb and not a noun or adjective for his name. They saw something special in this child. AS A YOUTH, Django became a proficient robber of chickens. Among his people, the Romanies believed it a noble skill to trick or steal from the non-Gypsy world around them. It was also a skill that brought curses from non-Gypsies, fostering distrust and ultimately hatred toward Django’s people. Yet to the Romanies such thievery was part of survival on the road. Silence was the key to abducting a chicken. The fowl could not be allowed to alert its owners of its plight. Like most good tricks, it was simple, and was handed down among Gypsies from father to son. As part of a paguba, or raiding party, the robber stole up on an unsuspecting hen with coat or cloth held ready. Before the chicken had a chance to rouse its owners with a storm of clucking, the cloth was dropped over its head. The robber then stuffed the chicken under his arm, twisted its neck with a practiced jerk of the wrist, and disappeared from the farmyard as silently as he arrived. Django also became an adept trout tickler. Wherever his family traveled, he was drawn to the closest water to fish, casting into the surf along the Midi coast or in country streams. When he lacked a cane pole or tackle, Django poached fish in a technique decried by the gendarmes as pêcher à la chatouille, fish tickling. Lying on his stomach in the grasses along a riverbank, he moved his hands in a systematic search along the water bottom until he came upon a fish, his fingers gently tickling the fish’s belly to lull and lure it in until he could grasp the silver body and catapult it out of the creek. Yet the true delicacy of the French Gypsies was the hedgehog, an animal the French would never consider eating. The creature was known affectionately as a niglo in Romany, and the Gypsies felt a kinship for this strange little rodent with its prickly hide. The hedgehog lived hidden beneath hedgerows— nether regions no other animal wanted as its home. Hunting a niglo required wiles and a good nose. Romanies trained dogs to track hedgehogs much as pigs were used to root out truffles. Once a dog found its quarry, the hedgehog was chased into a cloth sack and clubbed on the head. Most Romanies had treasured niglo recipes, and Négros no doubt had her own. Hedgehogs have a rich meat, gamy yet delicate, best when caught in autumn when they have put on fat for their winter hibernation. They were cured overnight on a caravan rooftop as it was believed moonglow enhanced flavor. To clean off the quills, Gypsies poked a hole in the hedgehog’s hide, then blew into the carcass, inflating it until the skin was taut so the prickles could be easily shaved away. Niglos were often cooked on a spit over open flames or stewed in a ragoût. The classic recipe, however, called on Gypsy enterprise and ingredients found along the road to roast the niglo in a clay sarcophagus. With its prickles still in place, the hedgehog was sliced open across the belly and gutted, the liver saved as the supreme delicacy. After stuffing the niglo with fresh rosemary, thyme, and wild garlic, the Romany cook would stitch up the incision. The hedgehog, prickles and all, was rolled in wet river clay; the resulting soccer ball-sized lump was roasted in a fire’s coals for an hour or so. When the clay rang to the rap of a knuckle, the shell was broken open, the hardened clay prying away the prickles. With a prayer of latcho rhaben—Romany for bon appétit—the hedgehog was feasted on. For Django, tickling trout and hunting hedgehogs were early lessons in living: The rules of the road required resourcefulness. And the everyday act of stealing a chicken likely opened Django’s eyes—in life he could have whatever he wanted as nothing barred him from taking it by any means necessary, whether it was in his Gypsy world or from the larger, foreign world surrounding him. DJANGO WAS BORN in Belgium by chance, just as he could have been born in France, Italy, or anywhere else on his family’s travels. He was sometimes referred to as a Belgian Gypsy, due to his birthplace; as a French Gypsy, as he lived most of his life in France; or even as a German Gypsy as his family came from the Alsace. But nationality was not important. His cultural heritage as a Romany was his sole allegiance. Django was a Manouche Gypsy. Read the full article

[sheetmusiclibrarypdf]

Happy birthday, Sade Adu, born on this day in 1959

Happy birthday, Sade Adu, born on this day in 1959Sade Adu (biography)Best Sheet Music download from our Library.Please, subscribe to our Library.Sade Adu DiscographySADE - The best of Sade - 1994Track List:Browse in the Library:

Happy birthday, Sade Adu, born on this day in 1959

Sade Adu (biography)

Helen Folasade Adu CBE (born 16 January 1959), known professionally as Sade Adu or simply Sade, is a Nigerian-British singer, known as the lead vocalist of her band Sade. One of the most successful British female artists in history, she is often recognised as an influence on contemporary music. Her success in the music industry was recognised with the honour Officer of the Order of the British Empire in 2002, and she was made Commander in the 2017 Birthday Honours. Sade was born in Ibadan, British Nigeria, and was brought up in England from the age of four. She studied at Saint Martin's School of Art in London and gained modest recognition as a fashion designer and part-time model before joining the band Pride in the early 1980s. After gaining attention as a performer, she formed the band Sade, and secured a recording contract with Epic Records in 1983. A year later, the band released the album Diamond Life, which became one of the era's best-selling albums and the best-selling debut by a British female vocalist. In July 1985, Sade was among the performers at the Live Aid charity concert at Wembley Stadium, and the next year, she appeared in the film Absolute Beginners. The band released their third album (Stronger Than Pride) in 1988, and a fourth album (Love Deluxe) in 1992. The band went on hiatus in 1996 after the birth of Sade's child. After eight years the band reunited in 1999 and released Lovers Rock in 2000. The album departed from the jazz-inspired inflections of their previous work, featuring mellower sounds. Ten years later the band released of Soldier of Love, their sixth studio album, and toured arenas worldwide. Since the 2011 tour finished, they have released two songs, "Flower of the Universe" for the soundtrack of Disney's A Wrinkle in Time, and "The Big Unknown", part of the soundtrack of Steve McQueen's film Widows. February 2010: Soldier of Love is released, the sixth studio album the band Sade have released during their 25 year career, and the first since Lovers Rock in 2000. For Sade herself, as the lynchpin of the group’s song writing effort, it’s a simple matter of integrity and authenticity: “I only make records when I feel I have something to say. I’m not interested in releasing music just for the sake of selling something. Sade is not a brand”. The call went out in 2008 for the group to re-convene at Peter Gabriel’s Real World studios, in the countryside of south west England. It was the first time the four principals had met up since the Lovers Rock tour wrapped in 2001. Bassist Paul Spencer Denman de-camped from Los Angeles, from where he managed his son’s punk band, Orange. Guitarist and saxophone player Stuart Matthewman interrupted his film soundtrack work in New York, and London based keyboardist Andrew Hale gave up his A&R consultancy. In a series of fortnightly sessions at Real World, Sade sketched out the material for a new album which, they all felt, was probably their most ambitious to date. In particular, the sonic layering and martial beats of the title track, Soldier Of Love, sounded quite different from anything they had previously recorded. According to Andrew Hale: “The big question for all of us at the beginning was, did we still want to do this, and could we still get along as friends?” The answer soon came back as a passionate affirmative. The album was completed in the summer of 2009, mainly at Real World. The feel of the music this time had moved away from the old country soul styling of Lovers Rock and assumed a more eclectic identity. At times the band sounded like the original Sade, with Matthewman back blowing soft sax on In Another Time and the vocal on Long Hard Road hymning. But with songs such as the joyously quirky reggae chant Babyfather, and the dramatically arranged album opener The Moon and the Sky, Sade were exploring new territory. “I never want to repeat myself,” Sade herself says. “And that becomes a more interesting challenge for us the longer we carry on together”. Helen Folasade Adu was born in Ibadan, Nigeria. Her father was Nigerian, a university teacher of economics; her mother was an English nurse. The couple met in London while he was studying at the LSE and they moved to Nigeria shortly after getting married. When their daughter was born, nobody locally called her by her English name, and a shortened version of Folasade stuck. Then, when she was four, her parents separated, and her mother brought Sade and her elder brother back to England, where they initially lived with their grandparents just outside Colchester, Essex. Sade grew up listening to American soul music, particularly the wave led in the 1970’s by artists such as Curtis Mayfield, Donny Hathaway, and Bill Withers. As a teenager, she saw the Jackson 5 at the Rainbow Theatre in Finsbury Park, London where she worked behind the bar at weekends. “I was more fascinated by the audience than by anything that was going on on the stage. They’d attracted kids, mothers with children, old people, white, black. I was really moved. That’s the audience I’ve always aimed for”. Music was not her first choice as a career. She studied fashion at St Martin’s School Of Art in London, and only began singing after two old school friends with a fledgling group approached her to help them out with the vocals. Somewhat to her surprise, she found that while the singing made her nervous, she enjoyed writing songs. Two years later she had overcome her stage fright and was regularly singing back up with a North London Latin funk band called Pride. “I used to get on stage with Pride, like, shaking. I was terrified. But I was determined to try my best, and I decided that if I was going to sing, I would sing the way I speak, because it’s important to be yourself.” Sade served a long apprenticeship on the road with Pride. For three years, from 1981, she and the other seven members of the band toured the UK, often with her driving. Pride’s shows featured a segment in which Sade fronted a quartet that played quieter, jazzier numbers. One of these, a song called Smooth Operator, which Sade had co-written herself, attracted the attention of record company talent scouts. Soon, everybody wanted to sign her, but not the rest of Pride. Obstinately loyal to her friends in the group, Sade refused to depart. 18 months later she relented and signed to Epic records – on condition that she took with her the three band mates who still comprise the entity known as Sade: saxophonist Stuart Matthewman, keyboard player Andrew Hale, and bassist Paul Spencer Denman. Sade’s first single, Your Love Is King, became a top 10 British hit in February 1984, and with that her life, and that of the band, changed forever. The unstressed, understated elegance of the music in conjunction with her look – unspecifically exotic and effortlessly sophisticated – launched Sade as the female face of the style decade. Magazines queued to put her on the cover. “It wasn’t marketing,” she says, wearily. “It was just me. And I wasn’t trying to promote an image.” At the time of the first album, Diamond Life, in 1984, Sade’s actual life was anything but diamond-like. She was living in a converted fire station in Finsbury Park, North London, with her then boyfriend, the style journalist Robert Elms. There was no heating, which meant that she had to get dressed in bed. The loo, which used to ice over in winter, was on the fire escape. The bath was in the kitchen: “We were freezing, basically”. For the remainder of the 1980’s, as the first three albums sold by the million around the world, Sade toured more or less constantly. For her this remains a point of principle. “If you just do TV or video then you become a tool of the record industry. All you’re doing is selling a product. It’s when I get on stage with the band and we play that I know that people love the music. I can feel it. Sometimes I yearn to be on the road. The feeling overwhelms me”. Intrusive media interest in her private life has inspired a continuing reluctance on her part to participate in the promotional game. Having been travestied in print on many occasions, Sade rarely gives interviews. “It’s terrible this Fleet Street mentality that if something seems simple and easy, there must be something funny going on”. For most of the past 20 years, Sade has prioritised her personal life over her professional career, releasing only three studio albums of new material during that period. Her marriage to the Spanish film director Carlos Scola Pliego in 1989; her child’s birth in 1996, and her move from urban London to rural Gloucestershire, where she now lives with her partner, have consumed much of her time and attention. And quite rightly so. “You can only grow as an artist as long as you allow yourself the time to grow as a person,” Sade says. “We’re all parents, our lives have all moved on. I couldn’t have made Soldier of Love any time before now, and though it’s been a long wait for the fans – and I am sorry about that – I’m incredibly proud of it”. Sade Adu Discography

SADE - The best of Sade - 1994

https://www.youtube.com/watch?v=Szi_2SiJZPM Track List: 00:04 1 Your Love Is King 3´41 03:45 2 Hang On To Your Love 4´32 08:18 3 Smooth Operator 4´21 12:40 4 Jezebel 5´30 -:- 5 The Sweetest Taboo 4´38 (suprimida por derechos de copyright) 18:11 6 Is It A Crime 6´23 24:34 7 Never As Good As The First Time 3´59 28:34 8 Love Is Stronger Than Pride 4´20 32:54 9 Paradise 3´39 36:34 10 Nothing Can Come Between Us 3´56 40:30 11 No Ordinary Love 7´22 47:53 12 Like A Tattoo 3´41 51:34 13 Kiss Of Life 4´12 55:47 14 Please Send Me Someone To Love 3´43 59:30 15 Cherish The Day 6´19 1:05:50 16 Pearls 4´33 Read the full article

[sheetmusiclibrarypdf]

Happy birthday, Tom Waits (born in December 1949)

Happy birthday, Tom Waits (born in December 1949)Best Sheet Music download from our Library.Please, subscribe to our Library.Tom Waits' DiscographyFilmography (on Wikipedia)Tom Waits - "This One's From The Heart"Browse in the Library:

Happy birthday, Tom Waits (born in December 1949)

Thomas Alan Waits (born December 7, 1949) is an American musician, composer, songwriter, and actor. His lyrics often focus on society's underworld and are delivered in his trademark deep, gravelly voice. He began in the folk scene during the 1970s, but his music since the 1980s has reflected the influence of such diverse genres as rock, Delta blues, opera, vaudeville, cabaret, funk, hip hop and experimental techniques verging on industrial music. As per The Wall Street Journal, Waits “has composed a body of work that’s at least comparable to any songwriter’s in pop today. A keen, sensitive and sympathetic chronicler of the adrift and downtrodden, Mr. Waits creates three-dimensional characters who, even in their confusion and despair, are capable of insight and startling points of view. Their stories are accompanied by music that’s unlike any other in pop history.” Tom Waits was born and raised in a middle-class family in Pomona, California. Inspired by the work of Bob Dylan and the Beat Generation, he began singing on the San Diego folk circuit. He relocated to Los Angeles in 1972, where he worked as a songwriter before signing a recording contract with Asylum Records. His first albums were the jazzy Closing Time (1973), The Heart of Saturday Night (1974) and Nighthawks at the Diner (1975), which reflected his lyrical interest in poverty, criminality and nightlife. He repeatedly toured the United States, Europe and Japan, and found greater critical and commercial success with Small Change (1976), Blue Valentine (1978) and Heartattack and Vine (1980). During this period, Waits entered the world of film, acting in Paradise Alley (1978), where he met a young story editor named Kathleen Brennan. He composed the soundtrack for Francis Ford Coppola's One from the Heart (1982) and made cameos in several subsequent Coppola films.

In 1980, Waits married Brennan, split from his manager and record label, and moved to New York City. With Brennan's encouragement and frequent collaboration, he pursued a more eclectic and experimental sound influenced by Harry Partch and Captain Beefheart, as heard on the loose trilogy Swordfishtrombones (1983), Rain Dogs (1985) and Franks Wild Years (1987). Waits starred in Jim Jarmusch's Down by Law (1986), lent his voice to his Mystery Train (1989), composed the soundtrack for his Night on Earth (1991) and appeared in his Coffee and Cigarettes (2003). He collaborated with Robert Wilson and William S. Burroughs on the "cowboy opera" The Black Rider (1990), the songs for which were released on the album The Black Rider. Waits and Wilson collaborated again on Alice (2002) and Woyzeck (2000). Bone Machine (1992) and Mule Variations (1999) won Grammys for Best Alternative Music Album and Best Contemporary Folk Album, respectively. In 2002, the songs from Alice and Wozzeck were recorded and released on the albums Alice and Blood Money. Waits went on to release Real Gone (2004), the compilation Orphans: Brawlers, Bawlers & Bastards (2006), the live album Glitter and Doom Live (2009) and Bad as Me (2011).

Waits has influenced many artists and gained an international cult following. His songs have been covered by Bruce Springsteen, Tori Amos, Rod Stewart and the Eagles and he has written songs for Johnny Cash and Norah Jones, among others. In 2011, he was inducted into the Rock and Roll Hall of Fame. Introducing him, Neil Young said: "This next man is indescribable, and I'm here to describe him. He's sort of a performer, singer, actor, magician, spirit guide, changeling… I think it's great that the Rock and Roll Hall of Fame has recognized this immense talent. Could have been the Motion Picture Hall of Fame, could have been the Blues Hall of Fame, could have been the Performance Artist Hall of Fame, but it was the Rock and Roll Hall of Fame that recognized the great Tom Waits." In accepting the award, Waits mused, "They say that I have no hits and that I'm difficult to work with. And they say that like it's a bad thing!" Musical style Per Bowman, Tom Waits: has never been of his time, ahead of his time, or, for that matter, locked into any particular time. An outsider artist before the term was in common use, Waits has been enamored, at various points in his career, with the cool of 1940s and 1950s jazz; the 1950s and 1960s word-jazz and poetry of such Beat and Beat-influenced writers as Jack Kerouac, Lord Buckley, and Charles Bukowski; the primal rock & roll crunch of the Rolling Stones; the German cabaret stylings of Kurt Weill; the postwar, alternate world of invented instruments and rugged individualism of avant-garde composer Harry Partch; the proto-metal blues of 1950s and 1960s Howlin' Wolf and their extension into the world of Captain Beefheart's late-1960s avant-rock; the archaic formalism of 19th-century parlor ballads; Dylan's early- and mid-sixties transformation of the possibilities of language in the worlds of both folk and rock; the elegance of pre-war Irving Berlin, Cole Porter, and Hoagy Carmichael; the sophistication of postwar Frank Sinatra; and, more recently, the bone-crushing grooves of 1980s and 1990s funk and hip-hop. Indeed, the art of Tom Waits has altogether transcended time and, to some degree, place. Asked about the distinction between words and music, he says: "I'm still a word guy. I'm drawn to people who use a certain vernacular and communicate with words. Words are music, really. I mean, people ask me, 'Do you write music or do you write words?' But you don't really, it's all one thing at its best." His work was influenced by his voracious reading and by conversations that he overheard in diners. In addition to Kerouac and Bukowski, literary influences include Nelson Algren, John Rechy and Hubert Selby Jr. Bowman notes the influence of crime writers like Dashiell Hammett and John D. Macdonald. Tom Waits says that "for a songwriter, Dylan is as essential as a hammer and nails and saw are to a carpenter." Musical influences include Randy Newman and Dr. John. He has praised Merle Haggard: "Want to learn how to write songs? Listen to Merle Haggard." He is an opera lover, and recalls hearing Puccini's "Nessun dorma" "in the kitchen at Coppola's with Raul Julia one night, and it changed my life, that particular Aria… It was like giving a cigar to a five-year old." A jazz influence is Thelonious Monk: "He almost sounded like a kid taking piano lessons. I could relate to that when I first started playing the piano, because he was decomposing the music while he was playing it." Regarding his eclectic influences, he says: "I draw from all kinds of sources and I listen to a lot of things … I would recommend that when you are starting out that you stay with your own stuff and find out who you are. And stay with you mining your own unique qualities rather than trying to sound like somebody else. I mean you do start out like somebody else, and slowly you become yourself, so it's kinda like life, you know?" Waits described his voice as being "the sand in the sandwich." By 1982, Waits's musical style shifted; Hoskyns noted that this new style "was fashioned out of diverse and disparate ingredients." This new style was influenced by Beefheart and Partch. Noting that he had a "gravelly timbre", Humphries characterized Waits's voice as one that "sounds like it was hauled through Hades in a dredger." His voice was described by critic Daniel Durchholz as sounding as though "it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months, and then taken outside and run over with a car." Rolling Stone also noted his "rusted plow-blade voice." One of Waits's own favorite descriptions of his vocal style was "Louis Armstrong and Ethel Merman meeting in Hell." Humphries cited him, alongside Newman, Kris Kristofferson and John Prine, as a number of U.S. singers who followed Dylan in breaking away from conventional styles of popular music and singing with their "distinctive" voices. Tom Waits can sing in falsetto, as heard on "Shore Leave", "Temptation" and "All Stripped Down". Waits said he couldn't sing in falsetto until after he quit smoking, adding "Nobody does it like Mick Jagger; nobody does it like Prince." He is known for his eclectic use of instruments, some of his own devising. On Swordfishtrombones, his orchestration included talking drums, bagpipes, banjo, bass marimba and glass harmonica; on Rain Dogs, accordion and harmonium; on Franks Wild Years, glockenspiel, Mellotron, Farfisa and Optigan; on Bone Machine and Mule Variations, the Chamberlin; on The Black Rider, the singing saw; on Alice, the Stroh violin; on Blood Money, a 57-whistle pneumatic calliope and an Indonesian seedpod. He explains "I use things we hear around us all the time, built and found instruments. Things that aren't normally considered instruments: dragging a chair across the floor or hitting the side of a locker real hard with a two-by-four, a freedom bell, a brake drum with a major imperfection, a police bullhorn. It's more interesting. I don't like straight lines. The problem is that most instruments are square and music is always round." As he later put it, "A lot of things are instruments and they don't even know it." Tom Waits' Discography Closing Time (1973) The Heart of Saturday Night (1974) Nighthawks at the Diner (1975) Small Change (1976) Foreign Affairs (1977) Blue Valentine (1978) Heartattack and Vine (1980) Swordfishtrombones (1983) Rain Dogs (1985) Franks Wild Years (1987) Bone Machine (1992) The Black Rider (1993) Mule Variations (1999) Alice (2002) Blood Money (2002) Real Gone (2004) Bad as Me (2011) Filmography (on Wikipedia)

Tom Waits - "This One's From The Heart"

https://www.youtube.com/watch?v=P40vLY45nQQ "This One's From The Heart" by Tom Waits from the 'One From The Heart' soundtrack Read the full article

[sheetmusiclibrarypdf]

Remembering Jane Birkin, born on this day in 1946.

Remembering Jane Birkin, born on this day (1946-2023).Best Sheet Music download from our Library.Jane BirkinPlease, subscribe to our Library.DiscographyJe t'aime... moi non plusBrowse in the Library:

Remembering Jane Birkin, born on this day (1946-2023).

Jane Birkin - Livre D'orDownload

AMOURS DES FEINTES BABY ALONE IN BABYLONE BALLADE DE JOHNNY JANE LES DESSOUS CHICS DI DOO DAH ET QUAND BIEN MEME EX-FAN DES SIXTIES FUIR LE BONHEUR DE PEUR QU'IL NE SE SAUVE JE T'AIME MOI NON PLUS LOST SONG LE MOI ET LE JEU NORMA JEAN BAKER QUOI UNE CHOSE ENTRE AUTRES

Jane Birkin

Jane Mallory Birkin OBE (14 December 1946 – 16 July 2023) was a British-French actress and singer. She had a prolific career as an actress, mostly in French cinema. A native of London, Birkin began her career as an actress, appearing in minor roles in Michelangelo Antonioni's Blowup (1966), and Kaleidoscope (1966). In 1968, she met Serge Gainsbourg while co-starring with him in Slogan, which marked the beginning of a years-long working and personal relationship. The duo released a debut album, Jane Birkin/Serge Gainsbourg, in 1969, and Birkin appeared in the film Je t'aime moi non plus in 1976 under Gainsbourg's direction. She mostly worked in France, where she had become a major star, and occasionally appeared in English-language films such as the Agatha Christie adaptations Death on the Nile (1978) and Evil Under the Sun (1982), as well as James Ivory's A Soldier's Daughter Never Cries (1998). Birkin lived mainly in France from the late 1960s onwards and acquired French citizenship. She was the mother of photographer Kate Barry with her first husband John Barry; of actress and singer Charlotte Gainsbourg with Serge Gainsbourg; and of musician Lou Doillon with Jacques Doillon. She lent her name to the Hermès Birkin handbag. After separating from Gainsbourg in 1980, Birkin continued to work both as an actress and a singer, appearing in various independent films and recording numerous solo albums. In 2016, she starred in the Academy Award-nominated short film La femme et le TGV, which she said would be her final film role. Discography Je t'aime... moi non plus "Je t'aime… moi non plus" (French for 'I love you… me neither') is a 1967 song written by Serge Gainsbourg for Brigitte Bardot. In 1969, Gainsbourg recorded the best-known version as a duet with English actress Jane Birkin. Although this version reached number one in the UK—the first foreign-language song to do so—and number two in Ireland, it was banned in several countries due to its overtly sexual content. In 1976, Gainsbourg directed Birkin in an erotic film of the same name. The title was inspired by a Salvador Dalí comment: "Picasso is Spanish, me too. Picasso is a genius, me too. Picasso is a communist, me neither". Gainsbourg described "Je t'aime" as an "anti-fuck" song about the desperation and impossibility of physical love. The lyrics are written as a dialogue between two lovers during sex. Phrases include: "Je vais et je viens, entre tes reins" ("I go and I come, between your loins") "Tu es la vague, moi l'île nue" ("You are the wave, me the naked island") "L'amour physique est sans issue" ("Physical love is hopeless" ) "Je t'aime, moi non plus" is translated as "I love you – me not anymore" in the Pet Shop Boys' version. The lyrics are sung, spoken and whispered over baroque pop-styled organ and guitar tracks in the key of C major, with a "languid, almost over-pretty, chocolate-box melody". Some deemed the song's eroticism offensive. The lyrics are commonly thought to refer to the taboo of sex without love, and were delivered in a breathy, suggestive style. The Observer Monthly Music magazine later called "Je t'aime" "the pop equivalent of an Emmanuelle movie". Read the full article

[sheetmusiclibrarypdf]

Mompou: Impressions Íntimes - Impresiones Intimas (piano)

Mompou: Impressions Íntimes - Impresiones Intimas (piano)Best Sheet Music download from our Library.Federico Mompou: Impresiones intimas (piano, FULL)Please, subscribe to our Library.About Frederic MompouBrowse in the Library:

Mompou: Impressions Íntimes - Impresiones Intimas (piano)

Impresiones intimas, composed by Frederic Mompou, is a remarkable collection of solo piano works that encapsulates the essence of Mompou's intimate and introspective musical style. The title itself, translating to "intimate impressions," provides a fitting description of the music contained within. Mompou's compositions in Impresiones intimas transport the listener to a world of delicate emotions and understated beauty.

The pieces are characterized by their thoughtful and introspective nature, often employing simple melodies and gentle harmonic progressions. These minimalist elements serve to create a sense of intimacy and vulnerability throughout the collection, as though the composer is whispering personal thoughts and emotions. Within Impresiones intimas, Mompou explores a wide range of emotions, from nostalgic yearning in pieces like "Notturno" to tender reflection in "Cuna." The music evokes a sense of introspection and contemplation, inviting listeners to explore their own memories and sentiments. Mompou's use of subtle nuances and exquisite attention to detail allows for a deep connection and emotional resonance with the music.

Overall, Impresiones intimas stands as a testament to Mompou's mastery of crafting highly personal and introspective musical pieces. It offers a unique experience, inviting listeners into an intimate world where emotions are expressed through the gentle touch of the piano keys.

Federico Mompou: Impresiones intimas (piano, FULL)

https://www.youtube.com/watch?v=vspgB2viH9Y 1. Impresiones intimas: I. Impresione Intima No. 1 2. Impresiones intimas: II. Impresione Intima No. 2 3. Impresiones intimas: III. Impresione Intima No. 3 4. Impresiones intimas: IV. Impresione Intima No. 4 5. Impresiones intimas: V. Pajarro Triste 6. Impresiones intimas: VI. La Barca 7. Impresiones intimas: VII. Cuna 8. Impresiones intimas: VIII. Secreto 9. Impresiones intimas: IX. Gitano Artur Pizarro, piano.

About Frederic Mompou

Frederic Mompou (1893-1987) was born in Barcelona in the heart of the theater district, which at that time was concentrated in the Paral.lel , on April 16, 1893 to a Catalan father and a mother of French descent. Encouraged by his family, he studied piano at the Liceo Conservatory of Barcelona, ​​giving his first public recital at the age of 15. According to his biography, in 1909 he heard Gabriel Fauré perform his Quintet No. 1 Op.89, and was so impressed that he decided to dedicate himself to composition. Recommended by Enric Granados, in 1911 he moved to Paris to perfect his piano studies. But his shyness did not allow him to deliver the letter written by Granados to Gabriel Fauré, director of the Paris Conservatory, renouncing to compete in said institution. He took private piano lessons with Isidor Philipp and Ferdinand Motte-Lacroix and harmony lessons with Marcel Samuel Rousseau. When the First World War broke out in 1914, he returned to Barcelona, ​​where he composed his first works for piano, the "Impressions íntimes" that he had begun in 1911 in Paris, completed in 1914, followed by "Pessebres" composed between 1914 and 1917. From his Initial works define his style, small works of an intimate and delicate nature, with influences of French impressionism. He also uses themes from Catalan folklore that he adapts to his own style.

“Scènes d'enfants" is a piano suite composed between 1915 and 1918. It is dedicated to his friend Manuel Blancafort, being one of the first works he performed publicly in Paris in 1921. It was orchestrated in 1936 by Alexander Tansman. The first part, Cris dans la rue , shouts in the street, evokes the joyful play of children in the street. When it returns to calm, an old Catalan popular song is evoked, La filla del marchant. Childish joy closes the short piece. The second part, Jeux sur la plage , games on the beach, is based on a personal memory of the composer. Children bathing on the beach of Barceloneta. Their joyful shouting mixes with the voices of the workers leaving the factories. In the orchestral transcription this movement is placed at the end to close the work. The third and fourth parts share the title, Jeu , game, in which a child's whistle evokes images of the past, of a lost paradise. They alternate joy with melancholic sadness. The fifth part, Jeunes filles au jardin , young girls in the garden, is one of Mompou's best-known pages. Influenced by Debussy, he presents a charming miniature showing languid creatures that dance and sing. Its melodic main theme seems like a musical representation of Mucha's engravings. A nostalgic work in which the evocation of children's games is mixed with the composer's childhood memories, expressed in an evocative way influenced by French Impressionism. “Suburbis" composed between 1916 and 1917 was orchestrated by Ricardo Lamote de Grignon and Manuel Rosenthal. It was part of the program of the concert dedicated to Mompou in 1921 at the prestigious Erard hall in Paris, with the interpretation of his works by Ferdinand Motte. Lacroix and that launched the composer to be known internationally. The first part, The carrer, the guitarist and the old cavall , the street, the guitarist and the nag, musically presents us with a scene that the composer himself describes to us with the following phrases. With the night has come silence. The hours sound heavily and in the street only the memory of a little guitar music remains... A cart full of stones passes by and the horse with big, compassionate eyes pulls with effort... And further down, that little old man sitting on its small worm-eaten wooden bench collecting the charity of those passing by and making its old out-of-tune organ moan lazily... The second part, Gitanes , consists of a romantic evocation of some gypsy friends of the composer, La Fana and La Chatuncha, with whom he had long conversations, impressing him with their haughty bearing and natural elegance. The third part, Sota un ritme inquiet , under a restless rhythm, in the orchestral version is titled Gitanes II , being the continuation of the previous movement. It vaguely evokes a flamenco rhythm. The fourth part, La cegueta , the blind girl, describes a traditional figure from the poor neighborhoods. Through a subtle harmonization he translates his unsteady gait, bringing out the pain in each chord. The fifth part, L'home de l'Aristó , the man of the ariston, returns to the figure of the beggar described in the first part. Through this re-exposition he closes the work with a certain bitterness. Aristón is a synonym for organillo, referring to a certain commercial brand. A descriptive work of post-impressionist type. It evokes the long walks that the composer took around Barcelona, ​​the suburbs. From the Montjuïc mountain you could see the poor neighborhoods, these suburbs that you are trying to describe. From the same period are the "Cants màgics" composed for piano between 1917 and 1919 and "Fêtes lointaines" from 1920. After the war, Mompou made several trips to Paris until he settled permanently in 1922, where he would remain until the German occupation of 1941. There he composed some of his most notable works. "Charmes" composed for piano between 1920 and 1921 was one of the composer's favorite pieces, one of the best examples of his musical aesthetics. At the end of the decade he composed two short works for piano, the "Tres variacions" in 1921 and "Dialogues" in 1923. In 1921 he began one of his best-known piano cycles "Cançons i danses", a series that would end in 1963. Consisting of 14 pieces written for piano, except No. 13 which is for guitar, composed during various periods of his life. The form is that of a lyrical piece followed by a counterpoint in a rhythmic relationship, most taking traditional Catalan themes, some very well known. The last one is dedicated to the great pianist Alicia de Larrocha. Another piano cycle is the one formed by the "Preludes", a series of 12 preludes that began in 1927 and ended in 1960. Number 11 is also dedicated to Alicia de Larrocha as a wedding gift. Written in an impressionist style with neoclassical influences. During the 1930s Mompou suffered a crisis as a composer. In this decade he only wrote a few minutes of music, two of his preludes, "Souvenirs de l'Exposition" in 1937 and he began the first "Variations on a Theme by Chopin." There may have been several reasons for this stop along the way. The growth of fascism in Europe, the Spanish Civil War, the death of his father and the change of direction of European music inclined towards atonalism and abstract methods. Mompou returns to Barcelona in 1941 and there he will meet the person who would change his life. Her name was Carmen Bravo, a girl of just 22 years old who was participating in a piano competition. Mompou was one of the members of the jury. He noticed her first in the musical field but soon in the personal field. Despite being almost 30 years younger, love soon united them. Long walks with the girl through the Gothic quarter of Barcelona would lead him to regain the strength to continue composing. Mompou was a withdrawn, shy and introverted person, unlike Carmen who had an extroverted character. When they asked her why she had fallen in love, the girl naively answered because it makes me laugh . The courtship was long until they decided to get married in 1957. During this time the composer's creation increased. In addition to continuing the cycles he started, he composed the song cycle for soprano and piano "El Combat del somni" . The “Combat del somni" composed between 1942 and 1948 was orchestrated by the composer himself in 1965. His future wife Carme Bravo had introduced him to one of her friends, Josep Janés, an editor and also an unknown poet. The composer discovered a book titled Combat del somni , in which love is expressed in a tone that is both modest and rapturous. Mompou recovered his inspiration as a composer by choosing three poems from the book, moved by the beauty of texts so identified with his own sensitivity and decided to set them to music. The first movement, Damunt de tu, només les flors , above you only the flowers, composed in 1942, is a romantic love song expressed in a heartbroken tone. They say that upon hearing it, Poulenc had his interpretation repeated three times. The second movement, Aquesta nit un mateix vent , tonight the same wind, has a lyrical content, expressing a loving feeling. The third movement, Jo et pressentia com la mar , I felt you like the sea, closes the brief cycle with a melodic form that formulates an intense love passion. "Ballet" composed for piano in 1949 is one of his most unknown works. We don't know if it hides choreographic ideas. It is a collection of short, poorly developed pieces, most of which evoke the air of dance. In its last number a mezzo-soprano intervenes. The "Variations on a Chopin Theme" composed in 1938 were orchestrated by the composer himself in 1957. They are based on the Polish composer's Prelude No. 7 in A major . A well-known theme that has sometimes been used as ballet music Intended to serve as a basis for a choreographic development, the work is made up of the theme followed by twelve variations. They were performed on December 30, 1962 by the Barcelona Municipal Orchestra under the direction of Rafael Ferrer. "Paisatges" is a small piano suite composed between 1941 and 1960. Mompou's most characteristic work is undoubtedly the series of piano pieces grouped under the name "Música callada" . Divided into four notebooks, the first composed in 1951, the second in 1962, the third in 1965 and the last in 1967. He identifies his music with the meaning of a poem by Saint John of the Cross, a 16th century mystical poet, titled Spiritual Canticle . The quiet night in pair of the dawn rises, the quiet music, the sonorous loneliness, the dinner that recreates and falls in love A music that represents his aesthetic ideal, a music that is the voice of silence, as he expresses in his own words. This music has no air or light. It is a weak heartbeat. You cannot go beyond a few millimeters in space, but the mission of penetrating the great depths of our soul and the most secret regions of our spirit can. This music is quiet because its hearing is internal. The third number of the first notebook, Placide , would become in the 1950s the tune that identified the SER radio network, with the name Sinfonía Azul. A tune that continues to be used. The “Suite Compostelana" written in 1962 for guitar is dedicated to Andrés Segovia. It was orchestrated in 2003 under the name of Compostel.la, suite per a orchestra by Antoni Ros Marbà, premiering on October 30, 2003 at the Auditorium of Galicia from Santiago de Compostela, performed by the Royal Philharmony of Galicia directed by Ros Marbá. After being heard in Madrid and Las Palmas, it was presented in Barcelona on May 5, 2006, performed by the Orquestra Simfònica de Barcelona i Nacional de Catalunya conducted by Antoni Ros Marbà. Composed of five movements. It begins with Preludi, allegretto , Coral, Lento and Cançó, moderato , which become abstract in the style of Mompou, giving way to the expressive cello of the Recitatiu, slow molto espressivo e cantabile , ending with the allegro of the Muñeira, where the trombones and a Rich percussion contributes to greater sound expansion. “Los Improperios" composed in 1963 are the result of a commission from the Organizing Committee of the Cuenca Religious Music Week. They premiered on March 26, 1964, performed by the Spanish Radio Television Symphony Orchestra with the Polyphonic Chapel and the baritone R. Torres. Its title refers, within the Catholic rite, to the verses of the Good Friday liturgy, in which the crucified Christ addresses his people to reproach them for their ingratitude. Mompou presents it in the form of an oratorio composed of a prelude and seven parts sung over a Latin text. The "Songs on texts by Paul Valéry" were composed in 1973 at the request of the board of directors of the Barcelona International Music Festival, for the 1973 call. They consist of a suite of five songs on texts by Paul Valery, written for soprano and piano. Antoni Ros Marbá performed his orchestral version. The first song is titled, La fausse morte , the second, L'ínsinuant , the third, Le vin perdu , the fourth, Le sylphe and the fifth, Les pas . Mompou suffered a brain hemorrhage in 1978, which he overcame, but it left him in a wheelchair and unable to play the piano. He gave up composition. During the last years of his life he received numerous tributes. He died in Barcelona on June 30, 1987. As a curiosity, we will comment on the discovery in a farmhouse in Priorat, in 2016, of some player piano rolls recorded by Mompou together with his friend Manuel Blancafort under the pseudonym Hobby . These are 16 dance pieces in the style of the United States, such as ragtimes or foxtrots that were commercialized. Among them are Katharine, Time and money and Victoria March . The pianola is a mechanical piano with pneumatic elements, which allow automatic reproduction of music punched on a roll of paper. In fact, it allows both manual execution by a pianist and automatic execution using paper rolls. Read the full article

[sheetmusiclibrarypdf]

Hommage à Martial Solal (1927-2024)

Hommage à Martial Solal (1927-2024).Téléchargement des meilleures partitions dans notre bibliothèque.BiographieJeunesseBest Sheet Music download from our Library.Débuts professionnelsPlease, subscribe to our Library.StyleDiscographieBrowse in the Library:

Hommage à Martial Solal (1927-2024).

Martial Solal, né le 23 août 1927 à Alger (Algérie française) et mort le 12 décembre 2024 à Chatou (Yvelines), est un pianiste, compositeur, arrangeur et chef d'orchestre de jazz français. Sa carrière débute dans les années 1950, durant lesquelles il enregistre notamment avec Django Reinhardt et Sidney Bechet. Au Club Saint-Germain, il accompagne les plus grands musiciens américains de l'époque : Don Byas, Clifford Brown, Dizzy Gillespie, Stan Getz et Sonny Rollins. Il a enregistré plus d'une centaine de disques en solo, en trio ou avec différents big bands, ainsi qu'en duo - formule qu'il affectionne particulièrement -, avec entre autres Lee Konitz, Michel Portal, Didier Lockwood, John Lewis et David Liebman. Solal ne se limite pas à la scène jazz : il écrit de nombreuses œuvres symphoniques jouées notamment par le nouvel orchestre philharmonique, l'Orchestre national de France ou l'Orchestre Poitou-Charentes. Il compose également plusieurs musiques de films, notamment pour Jean-Luc Godard (À bout de souffle) ou pour Jean-Pierre Melville (Léon Morin, curé). Le style de Martial Solal, virtuose, original, inventif et plein d'humour, repose notamment sur un talent d'improvisation exceptionnel servi par une technique impeccable qu'il entretient par un travail systématique tout au long de sa carrière. Bien qu'il n'ait eu qu'un seul véritable élève en la personne de Manuel Rocheman, il a influencé de nombreux musiciens tels que Jean-Michel Pilc, Baptiste Trotignon, Franck Avitabile, François Raulin et Stéphan Oliva. Le prestigieux concours de piano jazz Martial Solal, organisé de 1988 à 2010, porte son nom. Biographie Jeunesse Martial Saoul Cohen-Solal est né le 23 août 1927 à Alger, alors en Algérie française, dans une famille juive algérienne non pratiquante. Son père, algérien de naissance, était un modeste comptable, sa mère était originaire de Ténès. Il apprend les bases du piano auprès de sa mère, chanteuse d'opéra amateur, puis auprès de Madame Gharbi qui lui donne des cours de piano classique dès l'âge de six ans. Son talent d'improvisateur se révèle dès l'âge de dix ans, lors d'une audition, lorsqu'il modifie l'ordre des séquences d'une Rhapsodie de Liszt, sans hésitation et sans que personne ne s'en rende compte. Adolescent, il découvre le jazz et la liberté qu'il permet, aux côtés de Lucky Starway, saxophoniste multi-instrumentiste et chef d'orchestre local à Alger. Starway lui a présenté Louis Armstrong, Fats Waller, Teddy Wilson et Benny Goodman. Solal prend des cours avec lui pendant deux ou trois ans, durant lesquels il fait la « pompe » : une basse à la main gauche, un accord à la main droite. Lucky Starway l'engage finalement dans son orchestre. À partir de 1942, les lois sur le statut des juifs du régime de Vichy, entrées en vigueur dans les colonies françaises, interdisent à Martial Solal, enfant de père juif, d'entrer à l'école. Il se consacre donc à la musique. Le débarquement allié en 1942 lui évite la déportation. Durant la Seconde Guerre mondiale, alors qu'il effectuait son service militaire au Maroc, il joua dans les mess des soldats américains. Débuts professionnels Départ pour Paris Solal devient musicien professionnel en 1945, ce qui ne l'empêche pas d'enchaîner des petits boulots en parallèle. Les opportunités étant limitées à Alger pour un pianiste de jazz, il s'installe à Paris au début des années 1950, à l'âge de 22 ans, sans connaître personne. Après quelques semaines, il joue dans plusieurs orchestres de jazz, comme ceux de Noël Chiboust ou d'Aimé Barelli, contraints, pour des raisons économiques, de jouer du tango, du java, du paso doble ou des valses. Le Club Saint-GermainMartial Solal fréquente le Club Saint-Germain, alors le plus important en matière de jazz, et commence à y jouer en 1952. Il y sera le « pianiste maison » pendant une dizaine d'années, en alternance parfois avec le Blue Note, le autre grand club de jazz. Au Club Saint-Germain, avec le batteur Kenny Clarke et le bassiste Pierre Michelot, il accompagne des musiciens américains en visite, tels que Don Byas, Lucky Thompson, Clifford Brown, Dizzy Gillespie, Stan Getz et Sonny Rollins. Il y rencontre également André Previn, ainsi qu'Erroll Garner et John Lewis. En novembre 1954, il accompagne l'orchestre Barelli dans une tournée à travers la France et l'Afrique du Nord. Il crée un quatuor avec Roger Guérin à la trompette, Paul Rovère à la contrebasse et Daniel Humair à la batterie, et joue également du piano solo, dans un style inspiré d'Art Tatum. Entre 1959 et 1963, il accompagne avec son orchestre des chanteurs français tels que Line Renaud, Jean Poiret et Dick Rivers. En 1961, Solal compose la musique du tube Twist à Saint-Tropez. En 1956, Martial Solal crée son premier big band, salué par le compositeur — et ami de Martial Solal — André Hodeir. Dans son écriture, le piano alterne souvent avec l'orchestre, la section des saxophones est bien équilibrée, le jeu des trompettes est musclé. En 1957 et 1958, Solal enregistre d'autres titres avec son big band, tandis que son écriture se complexifie, avec un son plus massif et une tessiture plus large. Les changements de rythme et de tempo, qui deviennent alors sa signature, se généralisent. En 1958, Solal commence à composer l'ambitieuse Suite en ré bémol pour quatuor de jazz, d'une durée d'environ 30 minutes. En 1959, Martial Solal compose sa première musique de film pour Deux Hommes dans Manhattan de Jean-Pierre Melville, ami et admirateur du pianiste depuis sa Suite en ré bémol. Le compositeur principal, Christian Chevallier, était malade et n'a pas pu écrire la dernière séquence de 7 minutes. Solal a donc écrit un petit ostinato au piano d'une dizaine de notes, et une très courte mélodie jouée par Roger Guérin. Pour Solal, « le plus difficile a été de jouer le même riff pendant sept minutes sans aucun effet, sans aucune variation de tempo ou de dynamique. Un vrai test. Melville a apprécié le suspense créé. Sa renommée commence à grandir aux Etats-Unis, berceau du jazz : Oscar Peterson, de passage en France en juin 1963, passe l'écouter au Club Saint-Germain. Le producteur américain George Wein l'invite à jouer pendant deux semaines au Hickory House, un club de la 53e rue à New York, avant de le présenter au Festival de Newport en 1963. Pour Martial Solal, ce fut un choc : aucun musicien de jazz français n'avait été invité aux Etats-Unis depuis Django Reinhardt. Comme il était invité sans son trio, Joe Morgen, l'envoyé de Wein, lui présenta le contrebassiste Teddy Kotick et le batteur Paul Motian, qui jouaient avec Bill Evans ; l'entente entre les trois musiciens est rapide. Le succès est au rendez-vous et l'engagement à Hickory House est prolongé de trois semaines ; Le Temps lui consacre également deux colonnes. Le concert de Solal à Newport est publié (At Newport '63) après quelques « reprises » enregistrées en studio le 11 juillet 1963. L'album est salué par la presse américaine, ainsi que par Duke Ellington et Dizzy Gillespie. Le célèbre producteur Joe Glaser le prend sous son aile et, en une semaine, Solal a tout ce qu'il faut pour s'installer à New York : une carte de sécurité sociale et une carte de cabaret, lui permettant de jouer dans des clubs. . Il lui propose un engagement à la London House de Chicago, lieu de référence pour tous les grands pianistes. Mais Solal, de retour en France, ne retourne pas aux Etats-Unis. Divorcé d'un jeune enfant (Éric Solal), sa situation familiale est trop compliquée pour cette carrière américaine prometteuse. En 1964, il retourne encore jouer sur la côte ouest des États-Unis, notamment à San Francisco, où il rencontre Thelonious Monk. Cette absence de la scène américaine depuis plusieurs années explique en partie le fait que Solal reste encore relativement méconnu outre-Atlantique. En 1960 au Club Saint-Germain, Martial Solal crée son trio avec Guy Pedersen à la contrebasse et Daniel Humair à la batterie. En 1965, Martial Solal crée un nouveau trio avec Bibi Rovère à la contrebasse et Charles Bellonzi à la batterie. En 1970 sort Sans tambour ni trompette, que Martial Solal considère comme son album le plus novateur. Martial Solal a publié plusieurs albums pour piano solo dans les années 1970 : Martial Solal lui-même (1974) ; Plays Ellington, prix « In Honorem » de la Jazz Academy avec distinction (1975) ; Rien que du piano (1976) et The Solosolal (1979). En 1983, Bluesine est sorti par Soul Note. En 1990, il improvise devant le film muet Feu Mathias Pascal de Marcel L'Herbier, exercice qu'il pratique régulièrement. L'album est publié par Gorgone Productions. À partir de 1974, Martial Solal donne des centaines de concerts en duo avec le saxophoniste Lee Konitz, dont plusieurs sont enregistrés et publiés : European Episode et Impressive Rome (1968 et 1969), Duplicity (1978), The Portland Sessions (1979). ), Live aux Berlin Jazz Days 1980, Star Eyes, Hambourg 1983 (1998). Au milieu des années 1970, Solal joue en duo en Allemagne avec le contrebassiste danois Niels-Henning Ørsted Pedersen. Ils enregistrent un album sorti en 1976 sur le label allemand MPS, Movability. Dans les années 1970, Martial Solal rencontre le compositeur Marius Constant et commence à s'intéresser à la musique contemporaine, qui semble lui offrir de nouvelles possibilités pour le jazz. En 1977, Solal et Constant co-écrivent Stress, pour trio de jazz et quintette de cuivres. Les deux musiciens enregistrent Stress, psyché, complexes en 1981. En 1974 sort Locomotion avec Henri Texier et Bernard Lubat, un disque étonnant et humoristique sur lequel Solal joue du piano et du piano électrique dans un style groovy proche du jazz-rock. Il s'agit d'un regroupement de petites pièces destinées à illustrer des diffusions de séquences sportives à la télévision. L'album a été réédité en 2019 par Underdog Records pour le Record Store Day. En 1980, l'album Happy Reunion, en duo avec Stéphane Grappelli, reçoit le prix Boris-Vian du meilleur enregistrement français. En 1988, 21h/23. Town Hall a été publié, avec Michel Portal, Daniel Humair, Joachim Kühn, Marc Ducret et Jean-François Jenny-Clark. Au début des années 1980, Solal forme un nouveau big band de seize musiciens, dont Éric Le Lann, pour qui il écrit un nouveau répertoire. Cet orchestre se produit dans toute l'Europe, y compris dans tous les pays de l'Est. Il enregistre deux disques, un en 1981, un autre en 1983-84, avec des morceaux ambitieux, dont un qui occupe toute la face d'un disque 33 tours. Il écrit des arrangements de chansons de Piaf et Trenet pour Éric Le Lann, qui figurent sur l'album Éric Le Lann joue Piaf et Trenet (1990). Au début des années 1990, Martial Solal crée le Dodécaband, un « medium band » de douze musiciens qui reprend la structure traditionnelle des big bands : trois saxophones, trois trompettes, trois trombones et une section rythmique. Le groupe donne peu de concerts, et n'est pas enregistré. A l'invitation du festival Banlieues Bleues en 1994, il travaille sur des pièces de Duke Ellington, comme en témoigne l'album Martial Solal Dodecaband Plays Ellington (2000). Avec un nouveau big band qu'il appelle le Newdecaband, Solal publie Exposition sans tableau (2006), composé de compositions originales. Dans ce groupe se trouve la chanteuse de jazz Claudia Solal, fille du pianiste, qui sert d'instrument à l'orchestre. Au début des années 1990, Martial Solal réalise une émission hebdomadaire sur France Musique. Il invite près d'une centaine de pianistes à participer, seuls, à des duos ou des trios, parmi lesquels Manuel Rocheman, Jean-Michel Pilc, Robert Kaddouch, Baptiste Trotignon, Franck Avitabile et Franck Amsallem. Martial Solal improvise pour France Musique, un album sorti en 1994, reprend certaines des improvisations jouées par le pianiste solo lors de ces émissions. En 1995, Martial Solal enregistre Triangle avec un groupe rythmique américain : Marc Johnson (contrebasse) et Peter Erskine (batterie), trio avec lequel le pianiste part en tournée. En 1997, suite à l'album Just Friends, il se produit en Europe et au Canada avec un trio composé de Gary Peacock et Paul Motian, le batteur que Solal connaît depuis At Newport '63. Le pianiste retrouve à nouveau le batteur Paul Motian sur Ballade du 10 mars (1999). En 2002 et 2003, Solal continue de jouer aux États-Unis, à San Francisco, Los Angeles et New York. Mais peu friand de voyages, il annule à la dernière minute le concert prévu au Kennedy Center de Washington en 2005. En octobre 2007, il enregistre Live at the Village Vanguard, son premier enregistrement pour piano solo au Village Vanguard. En 2009, le festival Jazz à Vienne lui offre carte blanche. Il interprète un programme pour six pianos qu'il a composé, Petit Exercice pour Cent Doigts, en compagnie de Benjamin Moussay, Pierre de Bethmann, Franck Avitabile, Franck Amsallem et Manuel Rocheman. Il joue ensuite du deux pianos avec Hank Jones, accompagné de François et Louis Moutin. La soirée se termine par un concert réunissant les cordes de l'Opéra de Lyon sous la direction de Jean-Charles Richard, les cuivres du Nouveau Décaband et le saxophoniste Rick Margitza. En 2015, Works for Piano and Two Pianos est sorti. On retrouve plusieurs compositions de Solal interprétées par Éric Ferrand-N'Kaoua : Voyage en Anatolie, les neuf Préludes Jazz et les Onze Études. Martial Solal rejoint Éric Ferrand-N'Kaoua pour interpréter la Ballade pour deux pianos. Bien qu'il ait déclaré vouloir ralentir son activité compte tenu de son grand âge (il a eu 90 ans en 2017) et suite à des problèmes d'anévrismes, Martial Solal continue de se produire sporadiquement sur scène, notamment en duo avec Bernard Lubat (2014), Jean -Michel Pilc (2016) ou David Liebman (Masters à Bordeaux, 2017, et Masters à Paris, 2020). En mars 2018, est sorti My One and Only Love, un album live solo enregistré en Allemagne. Des histoires improvisées (paroles et musique) (JMS/Pias) sont apparues le 16 novembre 2018, alors que Solal avait déjà annoncé sa retraite. Il est décédé à l'âge de 97 ans, lors de son transfert de Chatou (Yvelines), où il résidait avec sa famille, à l'hôpital de Versailles, le 12 décembre 2024, à 17 heures, comme l'a annoncé son fils, Éric Solal. Style La maîtrise inégalée de l'instrument de Martial Solal s'accompagne d'un talent inépuisable pour l'improvisation. Il est l'un des rares musiciens de jazz européens à avoir eu une réelle influence aux Etats-Unis. Duke Ellington lui-même disait de Solal qu’il possédait « les éléments essentiels d’un musicien en abondance : sensibilité, fraîcheur, créativité et technique extraordinaire ». » Il est « réputé, à juste titre, pour son approche brillante, singulière et intellectuelle du jazz. Le style de Martial Solal est marqué par des ruptures rythmiques et mélodiques, une grande liberté rythmique, harmonique et tonale et une grande virtuosité. Il est très imaginatif, déconstruisant les mélodies, présentant une idée sous tous ses angles, dans une approche presque cinématographique « avec des gros plans, des travellings, des contrechamps, des panoramiques, des contre-plongées… autour d'un thème central ». On pense aussi aux dessins animés - Solal improvise régulièrement un Hommage à Tex Avery - : 'le pianiste rappelle le principe de Gerald Scarfe : chercher jusqu'à quel point on peut déformer un personnage (dans le cas de Solal, un morceau) tout en le laissant reconnaissable.' Il joue régulièrement des standards, qu'il aborde sans aucun plan préétabli : « quand Martial Solal joue un morceau qu'il a déjà joué de nombreuses fois , il n'a pas de version plus ou moins préparée sur laquelle se baser. Il improvise à partir de rien, cherchant à se renouveler sans cesse. » Il peaufine ces morceaux dans tous les sens, ajoutant quelques accords ou procédant à des réharmonisations totales et vastes, masquant la mélodie, ne jouant que des fragments avant de la révéler. Sa virtuosité lui permet d'alimenter son imagination sans limites et d'oser prendre tous les risques2. Cependant, même s'il prend de grandes libertés, il reste proche de la structure et de la mélodie des morceaux qu'il joue. Même s'il a choisi dès le début de créer un style personnel et unique, le jeu de Martial Solal est influencé par des pianistes stride tels que Willie 'The Lion' Smith ou Fats Waller, ainsi que par des pianistes comme Art Tatum, Teddy Wilson ou encore par des musiciens bebop. comme Charlie Parker. Il reconnaît également l'influence de Thelonious Monk, plus dans la conception musicale que dans son jeu pianistique, ainsi que celle de Duke Ellington. Pour Stefano Bollani, il est « le seul pianiste au monde qui n’a pas été influencé par Bill Evans. » Martial Solal a continué à perfectionner sa technique tout au long de sa vie – il se montre également assez critique envers les pianistes qui arrêtent de pratiquer avec l'âge. Martial Solal a publié JazzSolal en 1986, « une introduction complète aux styles de jazz pour piano solo » en trois volumes (Facile, Intermédiaire, Plus Difficile). En 1997 paraît sa Méthode d'Improvisation dont le but est de « familiariser les candidats improvisateurs aux règles de l'improvisation , en leur proposant un travail progressif appuyé par de nombreux exemples destinés à développer leur oreille, leurs capacités rythmiques, mélodiques et sens harmonique ainsi que leur imagination. » Discographie Martial Solal discographie dans Discogs Read the full article

[sheetmusiclibrarypdf]

Remembering Jane Birkin, born on this day in 1946.

Remembering Jane Birkin, born on this day (1946-2023).Best Sheet Music download from our Library.Jane BirkinPlease, subscribe to our Library.DiscographyJe t'aime... moi non plusBrowse in the Library:

Remembering Jane Birkin, born on this day (1946-2023).

Jane Birkin - Livre D'orDownload

AMOURS DES FEINTES BABY ALONE IN BABYLONE BALLADE DE JOHNNY JANE LES DESSOUS CHICS DI DOO DAH ET QUAND BIEN MEME EX-FAN DES SIXTIES FUIR LE BONHEUR DE PEUR QU'IL NE SE SAUVE JE T'AIME MOI NON PLUS LOST SONG LE MOI ET LE JEU NORMA JEAN BAKER QUOI UNE CHOSE ENTRE AUTRES

Jane Birkin

Jane Mallory Birkin OBE (14 December 1946 – 16 July 2023) was a British-French actress and singer. She had a prolific career as an actress, mostly in French cinema. A native of London, Birkin began her career as an actress, appearing in minor roles in Michelangelo Antonioni's Blowup (1966), and Kaleidoscope (1966). In 1968, she met Serge Gainsbourg while co-starring with him in Slogan, which marked the beginning of a years-long working and personal relationship. The duo released a debut album, Jane Birkin/Serge Gainsbourg, in 1969, and Birkin appeared in the film Je t'aime moi non plus in 1976 under Gainsbourg's direction. She mostly worked in France, where she had become a major star, and occasionally appeared in English-language films such as the Agatha Christie adaptations Death on the Nile (1978) and Evil Under the Sun (1982), as well as James Ivory's A Soldier's Daughter Never Cries (1998). Birkin lived mainly in France from the late 1960s onwards and acquired French citizenship. She was the mother of photographer Kate Barry with her first husband John Barry; of actress and singer Charlotte Gainsbourg with Serge Gainsbourg; and of musician Lou Doillon with Jacques Doillon. She lent her name to the Hermès Birkin handbag. After separating from Gainsbourg in 1980, Birkin continued to work both as an actress and a singer, appearing in various independent films and recording numerous solo albums. In 2016, she starred in the Academy Award-nominated short film La femme et le TGV, which she said would be her final film role. Discography Je t'aime... moi non plus "Je t'aime… moi non plus" (French for 'I love you… me neither') is a 1967 song written by Serge Gainsbourg for Brigitte Bardot. In 1969, Gainsbourg recorded the best-known version as a duet with English actress Jane Birkin. Although this version reached number one in the UK—the first foreign-language song to do so—and number two in Ireland, it was banned in several countries due to its overtly sexual content. In 1976, Gainsbourg directed Birkin in an erotic film of the same name. The title was inspired by a Salvador Dalí comment: "Picasso is Spanish, me too. Picasso is a genius, me too. Picasso is a communist, me neither". Gainsbourg described "Je t'aime" as an "anti-fuck" song about the desperation and impossibility of physical love. The lyrics are written as a dialogue between two lovers during sex. Phrases include: "Je vais et je viens, entre tes reins" ("I go and I come, between your loins") "Tu es la vague, moi l'île nue" ("You are the wave, me the naked island") "L'amour physique est sans issue" ("Physical love is hopeless" ) "Je t'aime, moi non plus" is translated as "I love you – me not anymore" in the Pet Shop Boys' version. The lyrics are sung, spoken and whispered over baroque pop-styled organ and guitar tracks in the key of C major, with a "languid, almost over-pretty, chocolate-box melody". Some deemed the song's eroticism offensive. The lyrics are commonly thought to refer to the taboo of sex without love, and were delivered in a breathy, suggestive style. The Observer Monthly Music magazine later called "Je t'aime" "the pop equivalent of an Emmanuelle movie". Read the full article

[sheetmusiclibrarypdf]

Barcarolle Les Contes d'Hoffman Jacques Offenbach piano solo sheet music, Noten, partition

Barcarolle Les Contes d'Hoffman Jacques Offenbach piano solo sheet music, Noten, partition #smlpdf

https://www.youtube.com/watch?v=PJy9WAgz7T0

Read the full article

[sheetmusiclibrarypdf]

Des nouvelles partitions sont disponibles à la Bibliothèque SMLPDF (8-9, 2024)

Des nouvelles partitions sont disponibles à la Bibliothèque SMLPDF (nouveautés, août-septembre, 2024)

Josh Groban Original Keys For Singers Songbook Contenu téléchargeable du livre de partitions : Josh Groban Original Keys For Singers SongbookDownload Pour trouver des partitions dans le catalogue de la bibliothèque, on peut chercher ici par auteur, par mots du titre ou par un morceau de ceux mots-là : Read the full article

[sheetmusiclibrarypdf]

Nuevas partituras ya disponibles en nuestra biblioteca SMLPDF (8-9, 2024)

Nuevas partituras ya disponibles en nuestra biblioteca SMLPDF (8-9, 2024)

Michael Bublé Call Me Irresponsible (Songbook) Piano Vocal Guitar chords Lista de contenido del libro de partituras para descargar: Michael Bublé Call Me Irresponsible (Songbook) Piano Vocal Guitar chordsDownload Para encontrar partituras en el catálogo de la biblioteca, puedes buscar aquí por autor, por palabras en el título o por un fragmento de estas palabras: Read the full article

[sheetmusiclibrarypdf]

Des nouvelles partitions sont disponibles à la Bibliothèque SMLPDF (8-9, 2024)

Des nouvelles partitions sont disponibles à la Bibliothèque SMLPDF (nouveautés, août-septembre, 2024)

Pour trouver des partitions dans le catalogue de la bibliothèque, on peut chercher ici par auteur, par mots du titre ou par un morceau de ceux mots-là : Read the full article

[sheetmusiclibrarypdf]

Play Guitar with....ERIC CLAPTON, "Tears in Heaven" (sheet music)

Play Guitar with....ERIC CLAPTON, "Tears in Heaven" with sheet music & audio track (unplugged)

Play Guitar with....ERIC CLAPTON, "Tears in Heaven" with sheet music & audio track (unplugged)Guitar Play Along series will assist players in learning to play their favorite songs quickly and easily. Just follow the tab, listen to the audio to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along.Best Sheet Music download from our Library.Who Is Eric Clapton?Early LifeBest Sheet Music download from our Library.Musical StartTears in HeavenMaking HistoryHard TimesNew BeginningsBrowse in the Library:Please, subscribe to our Library. Thank you! https://vimeo.com/479236983 Guitar Play Along series will assist players in learning to play their favorite songs quickly and easily. Just follow the tab, listen to the audio to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. Acclaimed guitarist and singer-songwriter Eric Clapton is known for his contributions to The Yardbirds and Cream, as well as such singles as "Tears in Heaven" as a solo artist.

Who Is Eric Clapton?

Eric Clapton was a prominent member of The Yardbirds and Cream before achieving success as a solo artist. Considered one of the greatest rock 'n' roll guitarists of all time, he is known for such classic songs as "Layla," "Crossroads" and "Wonderful Tonight." Early Life Eric Patrick Clapton was born March 30, 1945, in Ripley, Surrey, England. Clapton's mother, Patricia Molly Clapton, was only 16 years old at the time of his birth; his father, Edward Walter Fryer, was a 24-year-old Canadian soldier stationed in the United Kingdom during World War II. Fryer returned to Canada, where he was already married to another woman, before Clapton's birth. As a single teenage mother, Patricia Clapton was unprepared to raise a child on her own, so her mother and stepfather, Rose and Jack Clapp, raised Clapton as their own. Although they never legally adopted him, Clapton grew up under the impression that his grandparents were his parents and that his mother was his older sister. Clapton's last name comes from his grandfather, Patricia's father, Reginald Cecil Clapton. Clapton grew up in a very musical household. His grandmother was a skilled pianist, and his mother and uncle both enjoyed listening to big-band music. As it turns out, Clapton's absent father was also a talented pianist who had played in several dance bands while stationed in Surrey. Around the age of eight, Clapton discovered the earth-shattering truth that the people he believed were his parents were actually his grandparents and that the woman he considered his older sister was in fact his mother. Clapton later recalled, "The truth dawned on me, that when Uncle Adrian jokingly called me a little bastard, he was telling the truth." The young Clapton, until then a good student and well-liked boy, grew sullen and reserved and lost all motivation to do his schoolwork. He describes a moment shortly after learning the news of his parentage: "I was playing around with my grandma's compact, with a little mirror you know, and I saw myself in two mirrors for the first time and I don't know about you but it was like hearing your voice on a tape machine for the first... and I didn't, I, I was so upset. I saw a receding chin and a broken nose and I thought my life is over." Clapton failed the important 11-plus exams that determine admission to secondary school. However, he showed a high aptitude for art, so at the age of 13 he enrolled in the art branch of the Holyfield Road School. Musical Start By that time, 1958, rock 'n' roll had exploded onto the British music scene; for his 13th birthday, Clapton asked for a guitar. He received a cheap German-made Hoyer, and finding the steel-stringed guitar difficult and painful to play, he soon set it aside. At the age of 16, he gained acceptance into the Kingston College of Art on a one-year probation; it was there, surrounded by teenagers with musical tastes similar to his own, that Clapton really took to the instrument. Clapton was especially taken with the blues guitar played by musicians such as Robert Johnson, Muddy Waters and Alexis Korner, the last of whom inspired Clapton to buy his first electric guitar — a relative rarity in England. It was also at Kingston that Clapton discovered something that would have nearly as great an impact on his life as the guitar: booze. He recalls that the first time he got drunk, at the age of 16, he woke up alone in the woods, covered in vomit and without any money. "I couldn't wait to do it all again," Clapton remembers. Clapton was expelled from school after his first year. He later explained, "Even when you got to art school, it wasn't just a rock 'n' roll holiday camp. I got thrown out after a year for not doing any work. That was a real shock. I was always in the pub or playing the guitar." Finished with school, in 1963 Clapton started hanging around the West End of London and trying to break into the music industry as a guitarist. That year, he joined his first band, The Roosters, but they broke up after only a few months. Next he joined the pop-oriented Casey Jones and The Engineers but left the band after just a few weeks. At this point, not yet making a living off his music, Clapton worked as a laborer at construction sites to make ends meet. Already one of the most respected guitarists on the West End pub circuit, in October 1963 Clapton received an invitation to join a band called The Yardbirds. With The Yardbirds, Clapton recorded his first commercial hits, "Good Morning Little Schoolgirl" and "For Your Love," but he soon grew frustrated with the band's commercial pop sound and left the group in 1965. The two young guitarists who replaced Clapton in The Yardbirds, Jimmy Page and Jeff Beck, would also go on to rank among the greatest rock guitarists in history. Tears in Heaven “Would you know my name, if I saw you in heaven? Would it be the same, if I saw you in heaven?” asks the lyrics to "Tears in Heaven," the emotionally wrought hit song by guitar idol Eric Clapton. Released in 1991 it charted in the top 10 in more than 20 countries and won Grammys for Song of the Year, Album of the Year (Unplugged) and Best Male Pop Vocal Performance. Though it achieved incredible international success, the creation of the song, like many adored ballads and laments, was heavily influenced by the emotional state of its creator. For Clapton, it arose out of the pain following the accidental death of his 4-year-old son Conor, and it is infused it with all the loss, heartache and longing of a grieving parent. Making History Later in 1965, Clapton joined the blues band John Mayall & the Bluesbreakers, the next year recording an album called The Bluesbreakers with Eric Clapton, which established his reputation as one of the great guitarists of the age. The album, which included songs such as "What'd I Say" and "Ramblin' on My Mind," is widely considered among the greatest blues albums of all time. Clapton's miraculous guitar-playing on the album also inspired his most flattering nickname, "God," popularized by a bit of graffiti on the wall of a London Tube station reading "Clapton is God." Despite the record's success, Clapton soon left the Bluesbreakers as well; a few months later, he teamed up with bassist Jack Bruce and drummer Ginger Baker to form the rock trio Cream. Performing highly original takes on blues classics such as "Crossroads" and "Spoonful," as well as modern blues tracks like "Sunshine of Your Love" and "White Room," Clapton pushed the boundaries of blues guitar. On the strength of three well-received albums, Fresh Cream (1966), Disraeli Gears (1967) and Wheels of Fire (1968), as well as extensive touring in the United States, Cream achieved international superstar status. Yet they, too, broke up after two final concerts at London's Royal Albert Hall, citing clashing egos as the cause. Hard Times After the breakup of Cream, Clapton formed yet another band, Blind Faith, but the group broke up after only one album and a disastrous American tour. Then, in 1970, he formed Derek and the Dominos, and went on to compose and record one of the seminal albums of rock history, Layla and Other Assorted Love Songs. A concept album about unrequited love, Clapton wrote Layla to express his desperate affection for Pattie Boyd, the wife of the Beatles' George Harrison. The album was critically acclaimed but a commercial failure, and in its aftermath a depressed and lonely Clapton deteriorated into three years of heroin. Clapton finally kicked his drug habit and reemerged onto the music scene in 1974 with two concerts at London's Rainbow Theater organized by his friend Pete Townshend of The Who. Later that year he released 461 Ocean Boulevard, featuring one his most popular singles, a cover of Bob Marley's "I Shot the Sheriff." The album marked the beginning of a remarkably prolific solo career during which Clapton produced notable album after notable album. Highlights include No Reason to Cry (1976), featuring "Hello Old Friend"; Slowhand (1977), featuring "Cocaine" and "Wonderful Tonight"; and Behind the Sun (1985), featuring "She's Waiting" and "Forever Man." Despite his great musical productivity during these years, Clapton's personal life remained in woeful disarray. In 1979, five years after her divorce from George Harrison, Pattie Boyd finally did marry Eric Clapton. However, by this time Clapton had simply replaced his heroin addiction with alcoholism, and his drinking placed a constant strain on their relationship. He was an unfaithful husband and conceived two children with other women during their marriage. A yearlong affair with Yvonne Kelly produced a daughter, Ruth, in 1985, and an affair with Italian model Lory Del Santo led to a son, Conor, in 1986. Clapton and Boyd divorced in 1989. In 1991, Clapton's son Conor died when he fell out of the window of his mother's apartment. The tragedy took a heavy toll on Clapton and also inspired one of his most beautiful and heartfelt songs, "Tears in Heaven." New Beginnings In 1987, with the help of the 12 steps of Alcoholics Anonymous, Clapton finally quit drinking and has remained sober ever since. Being sober for the first time in his adult life allowed Clapton to achieve the kind of personal happiness he had never known before. In 1998, he founded the Crossroads Centre, a drug and alcohol rehabilitation facility, and in 2002, he married Melia McEnery. Together they have three daughters, Julie Rose, Ella Mae and Sophie. Clapton, who published his autobiography in 2007, was ranked the second greatest guitarist of all time by Rolling Stone in 2015. An 18-time Grammy Award winner and the only triple inductee of the Rock and Roll of Fame (as a member of The Yardbirds, as a member of Cream and as a solo artist), he continued to record music and tour through his 60s, while also performing charity work. In 2016, Clapton revealed that he had been diagnosed with peripheral neuropathy three years earlier, a condition that left him with back and leg pain. In early 2018, he admitted in an interview that he was also dealing with tinnitus, a ringing in the ears caused by noise-induced hearing loss. Despite the ailments, the guitar legend said he intended to continue performing that year.

Read the full article

[sheetmusiclibrarypdf]

Debussy - The Piano Works Of Claude Debussy by E. Robert Schmitz (Book)

Debussy - The Piano Works Of Claude Debussy by E. Robert Schmitz (Book)

Read the full article

[sheetmusiclibrarypdf]

Best of Clifford Brown In Paris (1953)

Best of Clifford Brown In Paris (1953)TRACK LIST: Best Sheet Music download from our Library. Please, subscribe to our Library. Thank you! Clifford Brown

Best of Clifford Brown In Paris (1953)

https://www.youtube.com/watch?v=s3Fdd5V-h0U

TRACK LIST: 00:00 - Blue and Brown 03:09 - The song is you 06:01 - Minority 11:31 - Keepin' up with Jonesy 18:40 - Strictly romantic 23:00 - You're a lucky guy 25:46 - Brown skins 31:54 - Come rain or come shine 36:07 - Salute to the band box 41:52 - It might as well be spring 46:51 - Goofin' with me 51:41 - All the things you are 55:35 - Baby 01:01:22 - All weird 01:06:39 - Conception 01:10:00 - I cover the waterfront 01:14:02 - Deltitnu 01:17:39 - Quick Step 01:20:23 - Bum’s Rush 01:23:36 - No Start No End 01:35:22 - Venez donc chez moi Clifford Brown is one of the greatest trumpet players in jazz history. He died at the age of 25 in a car accident, but his influence on generations of trumpet players and musicians has been considerable. Clifford Brown was a virtuoso, an amazing and brilliant technician of the trumpet. His music is modern and completely timeless. This is a “best of” the songs that he recorded in Paris during memorable sessions that featured some of the greatest talents of all time: Gigi Gryce, Quincy Jones, Art Farmer, Jimmy Cleveland. The sound on this program has been digitally re-mastered to achieve what is perhaps the finest sound quality ever.

Clifford Brown

The trumpeter, Clifford Brown (October 30, 1930, Wilmington, Delaware, United States – June 26, 1956, Turnpike, Pennsylvania, United States), was born 30 October 1930, and at 22 years old, already was a star of the trumpet and had worked with Tadd Dameron, Art Blakey, and Lionel Hampton. With the vibraphonist was even a European tour of which, fortunately, are testimonies record. At the age of 23, he made the first recordings to his name (especially significant, was the topic of: "Easy Living" for the label, Blue Note), and the following year he was already in the training that gave him fame and prestige in the world of jazz: the quintet that formed in the drummer, Max Roach. The year was 1954 and the quintet that both musicians have put in place, and that lasted until the tragic death in a traffic accident in the trumpeter the June 28, 1964, was one of the props must-haves of the hard bop, a style that was born as a result of the summation of the bebop and the need to recover the roots of jazz, and in a certain way remade by certain instrumentalists white tucked under the formula of cool on the West Coast of the U.S. The impression that you made that quintet was extraordinarily positive. The first recordings for the label: Emarcy, was made on 2 August 1954 and the last on February 17, 1956. What contributed, Clifford Brown jazz? Based on the concise formal Fats Navarro had been applied to the bebop, Clifford released his music of the bands metric, applied to the variability of the volume, and it solved the problem of the subject in the sense of recovering the "story to tell" as the basis of the just, an item quite lost in the abstractions of the bebop; he created a sound open, sensual and virile, more of a tenor sax that of a trumpet, and helped to restore the figure of the soloist, composer, very important from then on, and what is fundamental, with a sound exquisitely trumpet-like. After the untimely and tragic death of Clifford – was only 26 years old - his albums are included among the best albums of the hard bop. Read the full article

[sheetmusiclibrarypdf]

Sidney Bechet Si Tu Vois Ma Mère (Easy Piano Solo arr. sheet music)

Sidney Bechet Si Tu Vois Ma Mère (Easy Piano Solo arr. sheet music)

https://youtu.be/RblCF6sf7V8

Read the full article