Along with two Haydn sonatas, Mr. Lewis plays Beethoven's Op. 126 Bagatelles, and Brahms's Op. 118 Piano Pieces.
|
|
He returns, to Zankel Hall, with more late Beethoven (the Opus 126 Bagatelles) as well as Brahms's "Klavierstücke" (Op.
|
|
As scholar Patrick McCarthy noted in his 1977 critical study, Céline "exaggerates to the point of creating disbelief" in Bagatelles.
|
|
Here he plays two sonatas by Haydn; Beethoven's earlier set of Bagatelles, Op. 33; and Brahms's Fantasies, Op. 116.212-53-4680, pscny.
|
|
A selection of the bagatelles has been performed each Sunday afternoon at the Stone for a year, and this is the final matinee.
|
|
"It does feel like a culmination," she said of the album after her bagatelles marathon shift, in an interview at Rough Trade NYC.
|
|
" But perhaps the biggest story to come out of the recent American-themed events was the marathon concert devoted to Mr. Zorn's "Bagatelles.
|
|
Responding to a prolonged ovation, she played Beethoven's genial late Bagatelle No. 5 in G from the six Opus 126 bagatelles, as an encore.
|
|
This week he's been presenting his Book of Bagatelles — some 300 short pieces composed last spring — with a different configuration of musicians for every set.
|
|
Next week he will draw from his Book of Bagatelles — some 30 short pieces composed last spring — with a different configuration of musicians for every set.
|
|
Critic's Notebook As far as performance marathons go, the 10 hours of John Zorn's bagatelles on Saturday at National Sawdust in Brooklyn may not have been the most sprawling.
|
|
Mr Solomon likens this process to a search for the thread out of a labyrinth, and the liberated playfulness of the final Bagatelles indicates that Beethoven had indeed found that thread.
|
|
Even a brief dip into his bagatelles — short, playful pieces that he unveiled last year in weekly concerts, featuring a variety of ensembles and styles — leaves your head spinning: exhilarated, exhausted.
|
|
As wide-ranging an artist as there is, Mr. Zorn wrote his bagatelles for avant-jazz groups and experimental cellists, for solo piano (the traditional focus of the bagatelle form) and four guitars.
|
|
In an intriguing experiment, the quartet then alternated performances of five early Schubert minuets with six radically compact, essentially atonal bagatelles by Anton Webern (a devoted student of Schoenberg's), composed between 1911 and 1913.
|
|
At National Sawdust in Brooklyn last Saturday, that sound was an unmistakable force during a prime-time stretch of John Zorn's bagatelles marathon, which featured 20 groupings of musicians over a 10-hour concert sprawl.
|
|
A good example of what Sartre had in mind was the novelist Louis-Ferdinand Céline, a brilliant writer who besmirched himself by descending into Nazi apologia with his 1938 tract, Trifles for a Massacre (Bagatelles pour un massacre).
|
|
"Gus would go out every weekend and work to clear the land since it was very wooded," said Jeffrey Sussman, a friend of the couple and author of "No Mere Bagatelles," a biography of the Leibers published in 2009.
|
|
The Brentano foursome also plays Mozart's "Dissonance" quartet, as well as a juxtaposition of two composers whose work sits well alongside each other's: Schubert, in the form of five minuets, and Webern, and his Six Bagatelles, Opus 9.212-415-5500, 92y.
|
|
From the 18th century, there is Mozart's Quintet for Piano and Winds; from the 19th, Reicha's Wind Quintet, Op. 91, No. 3; and from the 20th, Françaix's "L'Heure du Berger," Barber's "Summer Music" and Ligeti's Six Bagatelles for Wind Quintet.
|
|
Musical highlights include a celebration of the composer Philip Glass at 80; a 12-hour performance of John Zorn's "Bagatelles"; a new series called Womanproducer looking at how women create sonic worlds; the world premiere of Juliet Palmer's a cappella opera "Sweat"; and the American premiere of Vasco Mendonça's "The House Taken Over," a co-production with the Manhattan School of Music and the Festival d'Aix en Provence.
|
|
Bagatelles, Op. 47 were five bagatelles for two violins, cello, and harmonium written by Antonin Dvorak.
|
|
I inclose you some poetic bagatelles of my late composition.
|
|
György Ligeti Three Bagatelles, for David Tudor, better known by its original French title Trois bagatelles, is a 1961 solo piano composition by Hungarian composer György Ligeti. The composition is well known for its tacet movements.
|
|
9); Gerald Finzi, who wrote Five Bagatelles for clarinet and piano; Alan Hovhaness, who wrote Four Bagatelles for string quartet (Op. 30). Another canonical modern bagatelle is the set by György Ligeti, who originally composed a set of eleven short works for piano entitled Musica Ricercata (1951–53), and later arranged a selection of them as Six Bagatelles for Wind Quintet (1953). The Northern Irish composer Howard Ferguson wrote a set of Five Bagatelles for piano (Op. 9), which, along with his Piano Sonata in F minor, are among the composer's few regularly performed works.
|
|
Four Bagatelles is New York City Ballet ballet master Jerome Robbins' only ballet made to the music of Beethoven: Bagatelles, Op. 33, Nos. 4, 5, and 2 (in order of performance) and Bagatelles, Op. 126, No. 4. The premiere took place on Thursday, 10 January 1974 at the New York State Theater, Lincoln Center. The ballet was revived for the 2008 Spring Jerome Robbins celebration.
|
|
The Eleven Bagatelles, Op. 119 were written by Ludwig van Beethoven between the 1790s and the early 1820s. By the end of 1803, he had already sketched bagatelles Nos. 1 through 5 (along with several other short works for piano that he never published). In 1820, he composed the last five bagatelles of Op. 119, and published them as a set of five in 1821.
|
|
The Bagatelles, or jeux d'espirit in French, are a collection of comics produced in Franklin's Passy Press in France.
|
|
Anton Diabelli also wrote a bagatelle in a short, happy form. Camille Saint-Saëns wrote Six Bagatelles, Op. 3, and Friedrich Baumfelder also wrote just one bagatelle, Op. 386, which was composed in his later years. In the 20th century, several composers have written sets of bagatelles, including Béla Bartók, who wrote a set of fourteen (Op. 6); Anton Webern, who wrote a set of six for string quartet (Op.
|
|
18 (2005—10) Yashen The title is a transcription of the Bashkir word. (Bashkir: Йәшен) after Rashit Nazarov's poem, op. 25 (2011) Bagatelles, op. 28 (2012) Axis, op.
|
|
The earliest use of the name "bagatelle" for a musical work was by François Couperin, in his tenth harpsichord ordre (1717), in which a rondeau is titled "Les bagatelles" .
|
|
The Bagatelles, Op. 33, for solo piano were composed by Ludwig van Beethoven in 1801–02 and published in 1803 through the Viennese publisher '. The seven bagatelles are quite typical of Beethoven's early style, retaining many compositional features of the early Classical period. #The first bagatelle, which is in the key of E-flat major, is perhaps the most well-known of the set. It is in the form A–B–A.
|
|
William Walton also wrote Five Bagatelles for the classical guitar for Julian Bream dedicated to composer Malcolm Arnold around 1970 . These five pieces have been recorded by several eminent classical guitarists including Julian Bream, Sharon Isbin, Christopher Parkening, and Ana Vidović. The American composer Charles Wuorinen wrote a Bagatelle for solo piano, which he later orchestrated. The Australian composer Carl Vine also wrote Five Bagatelles for piano (1994), which are quite frequently performed at piano competitions, especially in Australia.
|
|
When producing the original Six Bagatelles for wind quintet, Ligeti selected six movements from his solo piano work Musica ricercata on request by the Jeney Quartet. The Dublin Guitar Quartet produced their first transcription on hearing the Fabian Oehrli's transcription of the Six Bagatelles for Saxophone Quartet. The Dublin Guitar Quartet have also performed their transcription of the original source piece Musica Ricercata. ;The Redneck Manifesto The Redneck Manifesto are a post-rock band from Dublin, Ireland.
|
|
Shortly after its composition, Ligeti arranged six of the movements of Musica ricercata for wind quintet under the title 'Six Bagatelles for Wind Quintet'. The Bagatelles were performed first in 1956, but not in their entirety: the last movement was censored by the Soviets for being too 'dangerous'.Steinitz 2003, 60. Because of Soviet censorship, his most daring works from this period, including Musica ricercata and his String Quartet No. 1 Métamorphoses nocturnes (1953–1954), were written for the 'bottom drawer'.
|
|
Following are brief descriptions (with some analysis) of each movement of Musica ricercata.Busan, Robert. Gyorgy Ligeti's Musica Ricercata and Six Bagatelles for wind quintet: A study in transcription or recomposition? Doctoral dissertation, published on ProQuest, 2006.
|
|
14 Bagatelles, Sz.38, BB 50; 3rd Set, Op. 6, by Hungarian composer Béla Bartók is a set of pieces for solo piano, written in the spring of 1908 and first performed by the composer June 29, 1908, in Berlin. The work was published the following year in Budapest by Rozsnyai Károly. Composed the same year as Ten Easy Pieces, 14 Bagatelles was experimental and signified Bartók's departure from the tonality of 19th century composition. The work borders on atonality, and Bartók adopted some techniques of Debussy and Schoenberg.
|
|
University of California Press. (reprint of the 1959 edition) In Dialogues, Stravinsky noted that Rimsky-Korsakov's biographer had mentioned a 1903 concert of his pieces, but he stated "I have no recollection of these bagatelles".Stravinsky, Igor and Craft, Robert (1982).
|
|
In addition to the 32 celebrated sonatas, Beethoven's work for solo piano includes many one-movement pieces, more than twenty sets of variations, most unpublished in his lifetime or published without opus number, and over thirty bagatelles, including the well-known "Für Elise".
|
|
Though initially it was conceived as Eleven Piano Recital Pieces, one of the pieces was dropped and used as a bagatelle in Bartók's Fourteen Bagatelles. However, he was required by a contractual obligation with his publisher to write eleven pieces, so he wrote a dedication which is not numbered but serves to complement the set. For this reason, this set and his set of bagatelles are related, both in their harmonic and rhythmic styles and in their educational vocation. These works were heavily influenced by Bartók's fascination with folk music and by his admiration to Claude Debussy, who had, by then, made a name for himself.
|
|
The works he composed in these years include songs, dances, bagatelles, impromptus and the G minor Piano Sonata.Large, pp. 29–35 In 1846 Smetana attended concerts given in Prague by Berlioz, and in all likelihood met the French composer at a reception arranged by Proksch.Clapham (1972), p.
|
|
He married Marya Iżycka, but this marriage provided no children. Wielhorski was neither a professional virtuoso, nor a professional composer. He highly esteemed Mozart's music. According to Polish musician Jan Kleczyński, his own compositions, though being mostly bagatelles, valses and mazurkas, bear little reminiscences to those of Chopin.
|
|
The Tenth Van Cliburn International Piano Competition took place in Fort Worth, Texas from May 23 to June 8, 1997. Jon Nakamatsu won the competition, while Yakov Kasman and Aviram Reichert were awarded the Silver and bronze medals.Results in the competition's website William Bolcom composed his Nine Bagatelles for the competition.
|
|
In Béla Bartók's Bagatelles, and several of Alfredo Casella's Nine Piano Pieces such as No. 4 'In Modo Burlesco' the close intervallic relationship between motive and chord creates or justifies the great harmonic dissonance.Samson, Jim (1977). Music in Transition: A Study of Tonal Expansion and Atonality, 1900-1920, . New York: W.W. Norton & Company. .
|
|
Peričić states that Ristić's Bagatelles are "humorous, of clear formal structure, and transparent sound," and labels the composer "a master of neoclassic expression," to whose works are attributed "gaiety, lyricism, and amiable humor," but always "rationally controlled" (Peričić 1969, 471-72). Evoking his Second symphony's Scherzo, Ristić in Bagatelles utilizes 5/8 meter, thus "implying folklore," but also includes a very important modernist epithet which by its "unusual harmonies" speaks about the composer's "individuality" and "contemporaneousness" (Peričić 1969, 472). The published reviews of Ristić's works at the time of their performances reinforce "the closeness with the man of our reality," "the results yielded by the synthesis of talent, healthy life outlook, and studious, hard work," and a "sound orchestral style in our music" (Bergamo 1977, 80).
|
|
Whereas Fourteen Bagatelles is decidedly more difficult for young pianists, this set was planned to serve as an easy contemporary preparation for students. It is, indeed, being used in the intermediate piano repertoire, together with his other set of short pieces, For Children. The set was published a year later, in 1909, by Rozsnyai Károly.
|
|
Rolland R., Beethoven: Les grandes époques créatrices: Le chant de la résurrection – Sablier editions, Paris, 1937, p. 513 Along with Beethoven's 33 Variations on a waltz by Anton Diabelli, Op. 120 (1823) and his two collections of bagatelles—Op. 119 (1822) and Op. 126 (1823)—the sonata was one of Beethoven's last compositions for piano.
|
|
Gutiérrez is a strong champion of contemporary American composers. He has performed works by William Schuman, André Previn, and George Perle. His recording "George Perle: A Retrospective" was named one of the ten best recordings of 2006 by The New Yorker.Platt, Russell, Classical Notes Best Of 2006, The New Yorker, January 15, 2007 Perle dedicated Nine Bagatelles to Gutiérrez.
|
|
The Pacific Pinball Museum is an interactive museum/arcade offering a chronological and historical selection of rare bagatelles and early games, to over 90 playable pinball machines from the 1940s to present day. Throughout the museum are hand-painted murals, Jukeboxes and rotating exhibits. There are rooms for parties, events, field-trips and STEAM educational programs as well.
|
|
Grant Munro, (April 25, 1923 - December 9, 2017) was a Canadian animator, filmmaker and actor. In 1952, he starred with Jean-Paul Ladouceur in Norman McLaren's Neighbours. He worked on the films Two Bagatelles (1953), Seven Surprizes (1963), Christmas Cracker (1963) and Canon (1964). His film, Christmas Cracker, was nominated for an Academy Award in 1962.
|
|
Françoise is a compilation album by the French popular singer Françoise Hardy. After her break with Vogue in 1969, Hardy made this album, produces by Hypopotam, her society recently created, distributed by Sonopresse.Françoise Hardy, Le désespoir des singes… et autres bagatelles, Éditions Robert Laffont, Paris, 2008, pages 107-108-109. First edition realised in France in 1970.
|
|
England, Select Births and Christenings, 1538-1975 He immigrated to New Jersey, where he worked as a grocery manufacturer.1900 United States Federal Census In 1871, he patented the first game that resembles modern pinball, calling it "Improvements in Bagatelles." His design introduced the spring-loaded plunger for launching the pinball. He died in 1934 in Montclair, New Jersey.
|
|
53), songs based on texts by Johann Wolfgang von Goethe or the Six bagatelles for piano (op. 126) but also written documents like letters (to, e.g. Josephine Countess Deym, née. v. Brunsvik, or to the Immortal Beloved), Beethoven's diary 1812-1818 or the register his Bonn friends gave the composer as a farewell gift upon his departure to Vienna in 1792.
|
|
Ligeti finished the bagatelles in 1961, as part of his collaboration with neo-dadaist group Fluxus. The original manuscript is kept in Basel, in the Sacher Stiftung, as part of the Nordwall Collection, and is indeed dedicated to David Tudor. The piece was first performed in Wiesbaden by and was published in 1965 in New York City by Schott Music.
|
|
Sears names the method of playing bagatelles down the "Caribbean approach"; In general, Sears argues that infants should never be left crying because this would harm them.; But as early as in 1962, T. Berry Brazelton had shown in a study that a certain amount of crying in young infants does not indicate emotional or physical problems, but is to be considered normal and harmless.
|
|
In 1971 he returned to Europe to be composer-in- residence at the American Academy in Rome . In 1988, Shapero was forced to retire from Brandeis University. Encouraged by André Previn's interest in his work in the late 1980s, Shapero returned to composition. His late works included Three Hebrew Songs for Tenor, Piano and Strings Orchestra (1989) and, not long before his death, 24 Bagatelles for Piano .
|
|
Howard Ferguson (21 October 1908 – 31 October 1999) was a British composer and musicologist. He composed instrumental, chamber, orchestral and choral works. While his music is not widely known today, his Piano Sonata in F minor, Op. 8 and his Five Bagatelles, Op. 9, for piano are still performed. His works represent some of the most important 20th-century music to emerge from Northern Ireland.
|
|
Portrait by Hans Holbein the Younger, 1535 Nicholas Bourbon (; 1503 or 1505 - after 1550) was a French court preceptor and poet. He wrote a collection of poems called Nugae (Latin for 'trifles'), which are known as the Bagatelles in French. He is the great-uncle of Nicholas Bourbon (1574–1644), a member of the Académie française. Bourbon was born in Vendeuvre-sur-Barse, France.
|
|
Finzi's Clarinet Concerto and his Cello Concerto are possibly his most famous and frequently performed instrumental works. Of Finzi's few chamber works, only the Five Bagatelles for clarinet and piano have survived in the regular repertoire. Finzi had a long friendship with the composer Howard Ferguson who, as well as offering advice on his works during his life, helped with the editing of several of Finzi's posthumous works.
|
|
74); two piano quartets, a string sextet; Op. 48; and four piano trios, including the Piano Trio No. 4 (subtitled Dumky), Op. 90. He also wrote a set of Bagatelles, Op. 47, for the unusual instrumentation of two violins, cello, and harmonium, two waltzes for string quartet, and a set of 12 love songs arranged for quartet, taken from his set of 18 songs originally composed in 1865 entitled Cypresses.
|
|
Among his printing projects, he produced comics he called Bagatelles and passports. He developed a typeface known as "le Franklin". He also printed a 1782 treatise by Pierre-André Gargaz titled A Project of Universal and Perpetual Peace, which laid out a vision for maintaining a permanent peace in Europe. It proposed a central governing council composed of representatives of all the nations of Europe to arbitrate international disputes.
|
|
In November 1942, Kabos and Kentner gave the world premiere of Bartók's Concerto for Two Pianos, Percussion and Orchestra in London."Concerts", The Times, 14 November 1942, p. 8 She premiered Robert Crawford's Six Bagatelles, Op. 3 (1948). Kabos' marriage ended in 1945, when Kentner left her for Griselda Gould (daughter of British pianist Evelyn Suart and sister of the ballerina Diana Gould, who was Yehudi Menuhin's second wife).
|
|
Debussy's influence is present in the Fourteen Bagatelles (1908). These made Ferruccio Busoni exclaim "At last something truly new!". Until 1911, Bartók composed widely differing works which ranged from adherence to romantic-style, to folk song arrangements and to his modernist opera Bluebeard's Castle. The negative reception of his work led him to focus on folk music research after 1911 and abandon composition with the exception of folk music arrangements.
|
|
In Simon Leng's estimation, "When Every Song Is Sung" is among Harrison's finest love songs and it "deserved better" than the "sub-Spector production" of Starr's version. Alan Clayson similarly describes it as a Harrison composition that "[satisfied] every musical and lyrical qualification required of an evergreen like 'Yesterday' or his own 'Something'", yet the song received "its burial" beside the "makeweight bagatelles" on side two of Rotogravure.Clayson, Ringo Starr, p. 266.
|
|
An early pinball game without flippers, circa 1932 By the 1930s, manufacturers were producing coin-operated versions of bagatelles, now known as "marble games" or "pin games". The table was under glass and used M. Redgrave's plunger device to propel the ball into the upper playfield. In 1931 David Gottlieb's Baffle Ball became the first hit of the coin-operated era. Selling for $17.50, the game dispensed five to seven balls for a penny.
|
|
Her piano compositions include sonatas, nocturnes, bagatelles, scherzi, waltzes and berceuses, frequently in the style of established composers such as Ravel, Schubert or Mendelssohn. Drawing on the works of contemporary poets including Carlos Vaamonde Lores, Manuel Lois Vázquez and Marqués de Figueroa, she composed Galician songs along the lines of those by José Baldomir, Juan Montes Capón or Enrique Lens Viera. They include "Falas de Nai", "Ausencia. Melodía gallega" and "Adiós a Galicia".
|
|
In that case, No. 6 would not be meant as a conclusion to the first five, but as a way to connect them with the latter five. The key relationship and thematic similarities between No. 6 and No. 7 support this hypothesis, as does the fact that in subsequent correspondence, Beethoven expressed only satisfaction with how the bagatelles were published in England. A typical performance of Op. 119 lasts around fourteen minutes. #G minor.
|
|
Tyutchev regarded his poems as bagatelles, not worthy of publication. He generally did not care to write them down and, if he did, he would often lose papers they were scribbled upon. Nikolay Nekrasov, when listing Russian poets in 1850, praised Tyutchev as one of the most talented among "minor poets". It was only in 1854 that his first volume of verse was printed, which was prepared by Ivan Turgenev and others without any help from the author.
|
|
Peruvian composer Jorge Villavicencio Grossmann also wrote Cinco Bagatelas Opacas y Traslucidas for violin and piano (also existing in a trio version with bass clarinet). In 2015 John Zorn composed a book of 300 Bagatelles for open instrumentation that were premiered that same year by Sylvie Courvoisier, Mark Feldman, John Medeski, Craig Taborn, Uri Caine, Jamie Saft, Marc Ribot, Gyan Riley, Julian Lage, Erik Friedlander, Peter Evans, Jon Irabagon, Jim Black and Ikue Mori among others.
|
|
Ingmar Lazar's concerts were broadcast on radio (France Musique, Radio Swiss Classic, Espace 2, BR-Klassik, Ö1, Radio România Muzical) and on television (Mezzo, TF1, M6). He recorded several CDs both as a soloist and in duo with violinist Alexandre Brussilovsky for the Suoni e Colori label. A recording including Schubert’s Wanderer Fantasie and Sonata in A Major D.959 was released in October 2017 on the Lyrinx label. A recording with works by Beethoven (Bagatelles op.
|
|
Beethoven's studio (Johann Nepomuk Hoechle, 1827) Work on Op. 109 can be traced back to early in 1820, even before Beethoven's negotiations with Adolf Schlesinger, the publisher of his last three sonatas. Recent research suggests that Friedrich Starke had asked Beethoven for a composition for his piano anthology The Vienna Pianoforte School, and that Beethoven had interrupted work on the Missa Solemnis. In the end, though, he offered Starke numbers 7–11 of the Bagatelles, Op. 119.
|
|
Haddock uses these two expressions to such an extent that Abdullah actually addresses him as "Blistering Barnacles" ("Mille sabords" – "A thousand portholes" – in the original version). Émile Brami, biographer of Louis-Ferdinand Céline, claimed in a 2004 interview with the French book magazine Lire that Hergé took his inspiration from Céline's anti-Semitic pamphlet Bagatelles pour un massacre (1937) to create some of Haddock's expressions, as some of them ("aztec," "coconut," "iconoclast," "platypus") appeared explicitly in Céline's book.
|
|
The following year, he revised his old bagatelle sketches to construct a new collection for publication, adding a final bagatelle, No. 6, composed in late 1822. He then sent off this set of six to England for publication in 1823, along with Nos. 7 through 11, which had not yet been published in England. The English publisher printed all eleven bagatelles together as one collection, and it is unclear to what degree this represents the composer's intentions.
|
|
A bagatelle is a short piece of music, typically for the piano, and usually of a light, mellow character. The name bagatelle literally means "a short unpretentious instrumental composition" as a reference to the light style of a piece (; ). Although bagatelles are generally written for solo piano, they have also been written for piano four hands, harpsichord, harp, organ, classical guitar, vibraphone, unaccompanied oboe, clarinet, violin, viola, various chamber-music configurations, orchestra, band, voice and piano, and a cappella choir.
|
|
Ellman has performed and recorded with Ben Goldberg, Okkyung Lee, Steve Lehman, Joe Lovano, Rudresh Mahanthappa, Barney McAll, Myra Melford, Butch Morris, Greg Osby, Matana Roberts, Josh Roseman, Michele Rosewoman, and Wadada Leo Smith. In 2014 he worked with Jason Moran as part of Luanda Kinshasa, a video installation by filmmaker Stan Douglas. In 2016 he was asked by John Zorn to perform a solo concert of a selection of Zorn's Bagatelles. He is a member of Henry Threadgill's ensemble, Zooid.
|
|
Prelude and Fugue (1946) 7' Premiere in 1953 by Luc Ferrari at the Maison des Lettres (Sorbonne, Paris). Three Pieces (1952) 7' Premiere in 1952 by Bep Geuer at the Akademia Raymond Duncan in Paris. Three Bagatelles (1953 – revision 1956) 5'30 Premiere in 1954 by Luc Ferrari at the Maison des Lettres (Sorbonne, Paris). Recording for RTV Slovenija in 1980 by Leon Engelman. Letters to my wife (1976) 12' Premiere in 1979 in Richmond by Voya Toncitch who records the piece for Radio France, also in 1979.
|
|
He is not known even to have contemplated writing one.Rees, p. 198 There are sets of bagatelles (1855), études (two sets – 1899 and 1912) and fugues (1920), but in general Saint-Saëns's works for the piano are single short pieces. In addition to established forms such as the song without words (1871) and the mazurka (1862, 1871 and 1882) popularised by Mendelssohn and Chopin, respectively, he wrote descriptive pieces such as "Souvenir d'Italie" (1887), "Les cloches du soir" ("Evening bells", 1889) and "Souvenir d'Ismaïlia" (1895).
|
|
Only thirty people attended the funeral, including Marcel Aymé, Claude Gallimard, Roger Nimier, Robert Poulet, Jean-Roger Caussimon, and Lucien Rebatet. Destouches began to teach classical dance. She taught courses with Judith Magre, Françoise Gallimard, Isabelle Gallimard, Ludmilla Tchérina, and members of 2Be3 during their early careers. Destouches was initially quite opposed to Marie Canavaggia's translations and the publications of Rigodoon and anti-Semitic works written by Céline, such as Bagatelles pour un massacre, L'École des cadavres, and Les Beaux Draps, but finally agreed in 2017.
|
|
As for Beethoven, Gould preferred the composer's early and late periods. He recorded all five of Beethoven's piano concertos, 23 of the 32 piano sonatas, and numerous bagatelles and variations. Gould was the first pianist to record any of Liszt's piano transcriptions of Beethoven's symphonies (beginning with the Fifth Symphony, in 1967, with the Sixth released in 1969). Gould also recorded works by Brahms, Mozart, and many other prominent piano composers (with the notable exception of Frédéric Chopin), though he was outspoken in his criticism of the Romantic era as a whole.
|
|
The tune recounts the feelings of a young person who has never known love and her envy of the couples that surround her. It was telecast on the evening of Sunday 28 October 1962 in a musical interlude during the results of the 1962 referendum to allow direct election of the president of the French Republic.Françoise Hardy, Le Désespoir des singes… et autres bagatelles, éd. Robert Laffont, Paris, 2008, p. 49. The song quickly became a success, selling 500,000 copies by the end of the year, and eventually selling over 700,000 copies in France.
|
|
His first poems were published in 1529 in a collection called Vandoperani, campani, epigrammata, which contained a mixture of epigrams, canticles, dialogues, and epistles. He followed up this initial work in 1533 with the first edition of Nugae (Bagatelles), for which incurred the wrath of religious authorities. In particular, in the epigram In lauduem Dei optimi maximi, Bourbon seemingly showed himself to be favorable to religious reform. It is also claimed that this work contains subtle criticisms of Noël Béda, a noted theologian and ideological opponent of humanist thinkers.
|
|
The album L’Amour fou (Crazy Love) contains ten original songs where Hardy sings over ambient piano and the Macedonian Radio Symphonic Orchestra’s string arrangements. This album marks 50 years of the singer's musical career (her debut album was released in November 1962), appearing simultaneously with a book also called L’Amour fou.Released in France in October 31, 2012, Éditions Albin Michel. "My publisher wanted another book after my autobiography which met some success,"Françoise Hardy, Le Désespoir des singes... et autres bagatelles, Paris, Éditions Robert Laffont, October 9, 2008.
|
|
The best-known bagatelles are probably those by Ludwig van Beethoven, who published three sets, Op. 33, 119 and 126, and wrote a number of similar works that were unpublished in his lifetime including the piece that is popularly known as Für Elise. Other notable examples are Franz Liszt's Bagatelle sans tonalité (an early exploration into atonality), a set for violin and piano (Op. 13) by François Schubert of which No. 9, The Bee, is often performed, the set by Antonín Dvořák for two violins, cello and harmonium (Op. 47), and sets by Bedřich Smetana, Alexander Tcherepnin and Jean Sibelius.
|
|
The best of his works in this form are comparable with those by Carl Loewe. He also wrote a considerable amount of chamber music, including seven piano trios, as well as unaccompanied male choruses that were very popular in the nineteenth century. While Marschner's operas strongly influenced Wagner, his chamber music, songs, and his cantata ' (1842) were admired by Schumann, whose cantata Paradise and the Peri (1843) shows the older composer's influence. Marschner's Bagatelles for guitar (1814) have been taken up lately by some guitarists, and some of his chamber music is still very occasionally played.
|
|
Joseph Christoph Kessler, photograph by Josef Löwy, circa 1872 Joseph Christoph Kessler (26 August 180014 January 1872),Fryderyk Chopin Institute also seen as Kötzler, was a German pianist and composer who was active mostly in the Austrian Empire. His études, nocturnes, variations, preludes and bagatelles were praised by such people as Franz Liszt, Sigismond Thalberg, Ignaz Moscheles and Friedrich Kalkbrenner, and he was the dedicatee of the 24 Preludes, Op. 28 by Frédéric Chopin. Kessler was born at Augsburg in 1800.Grande Musica He studied under the organist Bilek at Feldsberg and at a seminary at Nicolsburg.
|
|
In 1937 Céline began a series of pamphlets containing anti-semitic themes: Bagatelles pour un massacre (Trifles for a Massacre) (1937), L'École des cadavres (The School of Corpses) (1938) and Les Beaux draps (The Fine Mess) (1941). The latter was last published in France during the German occupation. These works were characterized by anti-semitism, and also Celine's attachment to many of the same ideas that French fascists had been propagating since 1924. His Trifles for a Massacre is critical of French Jews and their influence on French society, later praised in newspapers like Action Francaise, Je suis partout and Révolution Nationale.
|
|
Many character pieces are composed in ternary form, but that form is not universal in the genre. A common feature is a title expressive of the character intended, such as Stephen Heller's Voyage autour de ma chambre ("Voyage around my room"), an early example of the genre, or Bruckner's Abendklänge ("Evening harmonies"). Other character pieces have titles suggesting brevity and singularity of concept, such as Beethoven's Bagatelles, or Debussy's Préludes, or casual construction: the title Impromptu is common. Many 19th-century nocturnes and intermezzi are character pieces as well, including those of Chopin and Brahms, respectively.
|
|
His work as an animator first won note during 1945, setting the songs "My Darling Clementine" and "The Daring Young Man on the Flying Trapeze" to animated cut-outs. In 1952, he furthered his reputation by co-starring with Jean-Paul Ladouceur in Norman McLaren's Neighbours, a film which used the technique known as "pixilation" (a term coined by Munro) and which won both a Canadian Film Award and an Academy Award. He went on to collaborate with McLaren on the films Two Bagatelles (1953), Seven Surprizes (1963), Christmas Cracker (1963) and Canon (1964). In the 1970s, Munro's focus shifted to documentaries.
|
|
Berg, whom Adorno called "my master and teacher", was among the most prescient of his young pupil's early friends: After leaving Vienna, Adorno traveled through Italy, where he met with Kracauer, Benjamin, and the economist Alfred Sohn-Rethel, with whom he developed a lasting friendship, before returning to Frankfurt. In December 1926 Adorno's "Two Pieces for String Quartet", op. 2, were performed in Vienna, which provided a welcome interruption from his preparations for the habilitation. After writing the "Piano Pieces in strict twelve-tone technique", as well as songs later integrated into the Six Bagatelles for Voice and Piano, op.
|
|
The term 'pixilation' was created by Grant Munro, who had worked with McLaren on Two Bagatelles, a pair of short pixilation films made prior to Neighbours. While Neighbours is often credited as an animated film by many film historians, very little of the film is actually animated. The majority of the film is shot with variable-speed photography, usually in fast motion, with some stop-frame techniques. During one brief sequence, the two actors appear to levitate: this effect was actually achieved in stop-motion; the men repeatedly jumped upward but were photographed only at the top of their trajectories.
|
|
After Bartók's long-lasting depression following his participation in the Rubinstein Competition in Paris in 1906, he decided to embark on a great journey around rural Romania and Hungary, where he found great inspiration from peasant songs. During this journey, he wrote hundreds of pieces, some of which were published during this period. Many compositions from this period were either largely based on peasant and folk music or made from scratch trying to resemble folk music, as can be seen in other sets such as Three Hungarian Folktunes, Four Dirges, Ten Easy Pieces, and Fourteen Bagatelles. The composition of this set spanned this entire period.
|
|
Lockwood (2005, 398) Maurice J. E. Brown, writing in the Grove Dictionary, says of the Bagatelles that they "are thoroughly typical of their composer and show affinities with the greater instrumental works written at the same time." Some possible such affinities are as follows: #1 shares the terse, elliptical expression of the first movement of the Piano Sonata Opus 101; #3 shares the style of elaborate, high-register elaboration of a slow melody in triple time, seen in the slow movement of the "Hammerklavier" Sonata; and the final Bagatelle opens with a chaotic passage reminiscent of the opening of the finale of the Ninth Symphony.
|
|
Though some of these techniques had been explored by earlier composers—Robert Schumann introduces the silent pressing technique into his Carnaval (at the end of Paganini)—the use of these techniques was not widely practised until the 20th century. Composers such as Béla Bartók started to look at the piano as a more percussive instrument and explored various techniques to achieve percussive effects. His Bagatelles and Mikrokosmos (the series of works for the instruction of young pianists) both contain unusual instructions to the pianist. He even used special notation for certain of them: "hold keys silently" is indicated by square note heads rather than the usual round ones.
|
|
Long interpreted the music of among many others Mozart, Haydn and Bach, and in 1950 she was decorated by the French Government for her services to French music and in particular for playing and recording works by Gabriel Fauré, with whose music she was particularly identified. She was also created CBE for her "services to music" in 1957. Long was also a champion of new music, playing works of Madeleine Dring in concert sometimes before they had been published. Kathleen Long made several recordings during the 1940s and 1950s, and Dutch composer Gerard Schurmann composed his Bagatelles (1945) for her, which she premièred at the Concertgebouw.
|
|
The first printing of a complete musical work set entirely by computer was of Smith's Six Bagatelles for Piano which appeared in December 1971, and the first book set entirely by computer to be published was his Handbook of Harmonic Analysis in 1979, created on the PDP-10 computer at SAIL using the PUB typesetting program in conjunction with MS. The printing was done at double size on a Varian Data Machines Statos electrostatic plotter and then optically reduced for lithographic printing. From its creation until 1985, all development of MS was either done on the PDP-10 computers at Stanford or during residencies at IRCAM in the Pompidou Centre, Paris.
|
|
He mingled with the artistic milieu and notably made friends with the painters Pranas Gailius, Raphael Kherumian, Veno Pilon and Emil Wachter. In 1952 and 1953 Kantušer attended the classes by Olivier Messiaen as well as those by Tony Aubin and by Jean Rivier, at the Conservatoire de Paris. He also attended the lectures on esthetics by Étienne Souriau at the Sorbonne and took part in the Darmstädter Ferienkurse. In 1953, together with Luc Ferrari,Luc Ferrari premiered Prelude et Fugue for Piano in 1953 and Three Bagatelles in 1954, at the Maison des Arts (Sorbonne). Pierre Migaux and Yves Ramette he founded Group 84.
|
|
The album was recorded at with Christoph Eschenbach and the Houston Symphony in 1993. In addition, he was featured on Cantos, a CD of works by American composer Samuel Adler and a recording of the chamber version of Bruckner 7th symphony performing with Gruppo Montibello. In addition to the dozens of recording made as Principal Horn in an orchestra he has recorded the Brahms Trio opus 40, Mozart Quintet K. 407, Schoenberg Wind Quintet, Beethoven Septet opus 20, Spohr Nonet opus 31, and the Six Bagatelles for wind quintet by Ligeti for Music@Menlo. In addition, he is featured as first horn on a live recording of Bach Brandenbug Concerto no.
|
|
He consequently quit New York City Ballet and, later in 1966, rejoined London Festival Ballet,Renée Renouf (July 2002) "Galina Samsova," interview, Ballet Magazine. where he continued his partnership with Samsova to great acclaim for some years. Prokovsky and Samsova married in 1972 and soon thereafter left London Festival Ballet to form their own company, the New London Ballet. A small troupe of only fourteen dancers, it toured Britain, Europe, Asia, South America, and the United States with a repertory including Prokovsky's first choreographic works. Among them were Bagatelles (1972; music, Beethoven), Vespri (1973; music, Verdi), Folk Songs (1974; music, Berio), Soft Blue Shadows (1975; music, Fauré), and Faust Divertimento (1976; music, Gounod), created in collaboration with Samsova.
|
|
Notably at that time Tcherepnin's mentor was famous musicologist Alexander Ossovsky, who also was a friend of his father. His works were influenced by composer Alexander Spendiarov. After the 1917 Russian Revolution, the family fled St. Petersburg and settled for some time in Tbilisi, Georgia. In young Tcherepnin's luggage were some two hundred short piano pieces, quite a number of which eventually reached print (notably in his Bagatelles, Op. 5). In Tbilisi he continued his studies at the conservatory, gave concerts as both pianist and conductor and wrote music for the Kamerny Theater (Palmer 1980, 18:637; Korabelnikova 2008, pp. 16–40). Because of the political environment in Tbilisi after Georgia was sovietized, the Tcherepnins chose to leave Russia permanently in 1921.
|
|
Bartók along with composer Zoltán Kodály had researched Hungarian folk music in 1905, and Bartók believed that the most interesting folk traditions in music existed in a multicultural environment with an active exchange of ideas between cultures. The first Bagatelle may reflect some of Bartók's view of multicultural folk music, with different key signatures for left and right hands. During Bartók's study of folk music in Transylvania in 1907, he met and fell in love with Stefi Geyer, a 19 year old violinist who did not return his affection. Author Alex Ross found evidence in the Bagatelles of Bartók's "fenced-off soul opening itself to the chaos of the outer world," and he attributed "rusty shards of folk melody" to Geyer's rejection of Bartók.
|
|
The extensive oeuvre of Božidar Kunc encompasses all the musical kinds apart from opera. At the focus of his interest was the piano, to which he devoted four sonatas and about 90 other compositions (programme cycles, bagatelles, nocturnes, preludes, toccatas, stylised dances, music for and about children). The piano was the hub of his chamber works, which in part belong among classical-romantic compositions (violin sonata, sonata for cello and piano, piano quartet and piano quintet), and are partly shorter compositions. Sometimes the composer gives it the leading role in works that have distinctive subject matters, such as Two Chapters from the Book of Job, Two Dance Improvisations, Three Episodes for Piano and String Orchestra, Ballet Scene for Two Pianos and the cycle For Piano and Percussion.
|
|
Diana McIntosh (born March 4, 1937 in Calgary, Alberta) is a contemporary Canadian composer and pianist who is based in Winnipeg, Manitoba. Hailed by the Canadian Encyclopedia as "a champion of 20th-century Canadian music", she has premiered piano works by such Canadian composers as Peter Allen (Logos, 1977), Norma Beecroft (Cantorum Vitae, 1981), Robert Daigneault (Corridors, Reminiscences, 1977), Alexina Louie (Pearls, 1980), Marjan Mozetich (Apparition 1985), Boyd McDonald (Fantasy, 1974), Jean Papineau-Couture (Les Arabesques d'Isabelle, 1990), Ann Southam (Four Bagatelles, 1964 & Integruities, 1973 & Inter-views, 1975), Robert Turner (Homage to Melville, 1974), and John Winiarz (Vortices, 1977). In 1977, she and Southam co-founded Music Inter Alia (MIA), a concert series of "contemporary music for people who don't like contemporary music". She served as the MIA's director until 1991.
|
|
There is a printed folded sheet attached featuring Maciunas' typographic representations of each artist's name, and the whole book is contained in a wooden case sprayed with the title. The box was used, in part, to facilitate sending the work by post. A number of copies have the recipient's address written directly onto the cover. Contents might include: a Finger Envelope by Ay-O featuring an envelope with a slit in it containing a nylon stocking; A Favorite Song by Joe Jones containing 'a scramble of used music typewriter ribbons';Fluxus Codex, p279 Disappearing Music for Envelopes by Mieko Shiomi consisting of a sequence of envelopes of diminishing sizes within each other; the music score for Trois Bagatelles by Györgi Ligeti; or An Opera (see ), a short story written on a long scroll by Emmett Williams.
|
|
Ristić wrote his most boldest compositions, including those in quarter- and sixth-tone systems, during his studies. He is though, best known for his nine symphonies and other orchestral works, such as Sinfonietta, Man and war (symphonic poem), Symphonic movement, Suita giocosa, Symphonic variations, Burlesque, Seven bagatelles, The Suite, Three little pieces, Three polyphonic studies, and The Gallop. Along with his symphonic compositions, he wrote a number of concertante works, including Concerto for violin, two concertos for piano, Concerto for clarinet, Concerto for trumpet, Concerto for orchestra, and Concerto for chamber orchestra. His chamber oeuvre in the semitone system consists of notable works such as the five-string quartets, Wind quintet, Sonata for two violins and piano, two sonatas for violin and piano, Sonata for viola and piano, Duet for violin and piano, Duet for violin and viola, and twenty-four fugues for various instrumental ensembles.
|
|
Prompted by the death of a friend who was a Kansas City pianist and composer, McGlaughlin's first major work was Three Dreams and a Question: Choral Songs on e.e. cummings — which he debuted with the Kansas City Symphony on April 28, 1998, to an enthusiastic audience and press. Some of the other 20 works he created in his first decade of composing, most of them commissioned, include: Aaron's Horizons (a tribute to colleague Aaron Copland); Echoes, for horn trio; Angelus, a 9/11 remembrance; Three Pieces for Wind Trio; Bagatelles, for saxophone quartet; The Heart's Light: An Essay for Orchestra; Three by Six, for chamber ensemble; and The Bells of St. Ferdinand, for orchestra. For a millennial celebration, he was chosen from a field of 350 composers to write a major new work for Continental Harmony, a nationwide cultural initiative commissioned by the National Endowment for the Arts and the American Composers Forum.
|
|
In its structural aspects, Ristić's Second symphony corresponded with the unfolding cultural changes. The symphony's neoclassic expression represents a fostering of tradition of 'healthy' classicism, contrary to the daily vulgarization of art for political purposes. Lacking the programmatic underpinnings, but skillfully developed in terms of canonic craft and simulation of certain models with folkloristic connotation (Scherzo in 5/8 and Trio in 7/8 meter), by its completeness and wholeness, this symphony does not oppose the then governing doctrine, while at the same time it represents a work of modern expression. By its optimistic spirits the Second symphony embodies the momentum of transition of the entire Yugoslav society from a Warsaw Pact country to one of self-governed socialism. Suita giocosa, but particularly The Seven bagatelles for orchestra, both underscore Ristić's "optimism"; "with clear forms and free but still present tonality and clarity of polyphonic procedures (…) these works carry extraordinary communicativeness" (Bergamo 1977, 80).
|
|
In 1937, the anti-Semitic writer Louis-Ferdinand Céline (1864-1961), in his Bagatelles pour un massacre, published in Germany in 1938 under the title Die Judenverschwörung in Frankreich (The Jewish Conspiracy in France), took up the accusations of the early Socialists and denounced "the Jew" as "the most intransigent, most voracious, most corrosive parasite". He expanded the metaphor by equating it with a cuckoo, a breeding parasite that does not build its own nests, but hatches its young from other birds, raises them, and lets their young die. The stereotype was also widespread in the Russian Empire and served to justify acts of violence against Jews. During the expulsion of the Jews from Moscow in 1891, Konstantin Petrovich Pobedonostsev, a close advisor to Tsar Alexander III, to an English guest, declared: Around 1900, the journalist Pavel Alexandrovich Krushevan (1860-1909), a member of the Black Hundreds, regularly rioted against the Jews in the magazine Bessarabetz, calling them "bloodsuckers, fraudsters, parasites and exploiters of the Christian population".
|
|
He was a gifted arranger whose transcriptions include the realization of Brahms's two string sextets as piano trios; he also made the vocal score of Brahms's German Requiem and solo piano arrangements of the third and fourth sets of Hungarian Dances and the Liebeslieder Walzer. As a composer, he was an intense romantic lyricist and a natural miniaturist — he is credited with having written over 1000 piano pieces (mainly collected in cycles) of which many are only a minute or so in duration — a kind of 19th-century forerunner of Webern's Bagatelles. His waltzes, opus 23, composed in 1876, are dedicated to Brahms and the suite of 'characteristic pieces', Nachtbilder, opus 25 quotes Brahms's song Wie bist du, meine Königin. There are also some organ pieces and songs and a few choral and chamber works, but no orchestral music at all, though his friend Heinrich Schülz-Beuthen made an orchestral suite out of some of Kirchner's piano pieces.
|
|
De Luz then joined New York City Ballet (NYCB) as a soloist in 2003, and in January 2005, he was promoted to the rank of principal dancer. His featured roles since joining New York City Ballet include: George Balanchine's Ballo della Regina, Coppelia (Frantz), "Divertimento" from Le baiser de la fée, Donizetti Variations, The Nutcracker ("Cavalier", "Tea", and "Candy Cane"), Harlequinade (Harlequin and Pierrot), Jewels ("Rubies"), A Midsummer Night's Dream (Oberon), Symphony in C (Third Movement), Tarantella, Theme and Variations, Tschaikovsky Pas de Deux, Valse-Fantaise, Vienna Waltzes, Peter Martins' Jeu de cartes, Octet, The Sleeping Beauty (Bluebird), Swan Lake (Pas de Quatre), Jerome Robbins' Andantino, Brandenburg, Dances at a Gathering, Dybbuk, Fancy Free, Four Bagatelles, The Four Seasons (Fall), The Goldberg Variations, Other Dances, Piano Pieces, and Christopher Wheeldon's Mercurial Manoeuvres. De Luz originated a featured role in, Jorma Elo's Slice To Sharp, Peter Martins' Romeo + Juliet (Tybalt), and Christopher Wheeldon's Shambards and Alexei Ratmansky's Concerto DSCH. In 2003, De Luz became a permanent guest faculty member of The Rock School in Philadelphia.
|
|
O'Conor has made more than 20 recordings for the Telarc label including the complete Beethoven Piano sonatas, and the complete Beethoven Bagatelles, which latter was cited by the New York Times as the best recording of these works; the five Beethoven Piano concertos, released in 2008; four volumes of Mozart piano concertos with Sir Charles Mackerras and the Scottish Chamber Orchestra; numerous works of Schubert including the late A major Sonata, the complete Impromptus and Moments Musicals, Waltzes and the Trout Quintet with the Cleveland Quartet; and two volumes of short piano pieces entitled Piano Classics and Autumn Songs. An avid proponent of his fellow countryman John Field, he has recorded most of the composer's major works including the complete Concertos, Sonatas and Nocturnes. His recording of Field's Nocturnes was featured on Billboard Magazine's classical charts for many weeks. He has also recorded a popular CD of his favourite Irish Airs (including "Danny Boy", "Come back to Erin" and "The Banks of my own lovely Lee") on the After9 label (called Irish Classics).
|
|
Webern's compositions are concise, distilled, and select; just thirty-one of his compositions were published in his lifetime, and when Pierre Boulez later oversaw a project to record all of his compositions, including some of those without opus numbers, the results fit on just six CDs. Although Webern's music changed over time, as is often the case over a long career, it is typified by very spartan textures, in which every note can be clearly heard; carefully chosen timbres, often resulting in very detailed instructions to the performers and use of extended instrumental techniques (flutter tonguing, col legno, and so on); wide-ranging melodic lines, often with leaps greater than an octave; and brevity: the Six Bagatelles for string quartet (1913), for instance, last about three minutes in total. Webern's music does not fall into clearly demarcated periods of division because the concerns and techniques of his music were cohesive, interrelated, and only very gradually transformed with the overlap of old and new, particularly in the case of his middle-period lieder. For example, his first use of twelve-tone technique was not especially stylistically significant and only eventually became realized as otherwise so in later works.
|
|
Grange's first published pieces date from the late 1970s, and include Cimmerian Nocturne (1979), which was commissioned by The Fires of London, and included a performance under director Peter Maxwell Davies at the 1983 PromsBBC Proms performance archive as well as performances in Britain and abroad. Other early works include The Kingdom of Bones for mezzo-soprano and chamber orchestra, (1983), Variations (1988) and Concerto for Orchestra: Labyrinthine Images (1988)Camden Reeves, Music as Transition a : An Interview with Philip Grange, Tempo (2006), 60: 15-22 During the early 1990s Grange completed two BBC commissions, Focus and Fade for the BBC Symphony Orchestra, which performed the premiere at the Royal Festival Hall in 1992 conducted by Andrew Davis, and Lowry Dreamscape, which was premiered at the 1993 BBC Festival of Brass by the Sun Life Brass Band conducted by Roy Newsome. Other works from this period include Piano Polyptich (premiered by Stephen Pruslin on 26 June 1993 at the Aldeburgh Festival)University of Manchester, research portal and Bacchus Bagatelles for wind quintet.Edition Peters Grange has written works for the National Youth Wind Ensemble of Great Britain, Ensemble Gemini and the Psappha New Music Ensemble.
|
|
Since the publication of its first album in Italian language, Françoise Hardy recorded many singles in this language which was not the object of any other album but was only disseminated in various Italian compilations. In 1968, when the singer changed distributive firm into Italy,Contract signed with Compagnia Generale del Disco: Billboard of October 26th, 1968, pages 79 and 87. a dozen titles were recorded until 1970 but no album published if it is not a compilation half in French half in Italian where five Italian titles appeared."La bilancia dell'amore" ("Tiny Goddess" / "Je ne sais pas ce que je veux"), "Il male d'amore" ("À quoi ça sert ?"), "Io conosco la vita" ("À la fin de l’été (Tu sais)" / "La Fin de l’été"), "Se e ma" ("Avec des si") and "Il pretesto" ("It Hurts To Say Goodbye" / "Comment te dire adieu ?"), Released in 1969 by Compagnia Generale del Disco (FGS 5052). It’s only at the end of its contract with this firm and after having broken with Vogue, that Hardy made this compilation, produces by Hypopotam, his society create in 1970.Françoise Hardy, Le Désespoir des singes… et autres bagatelles, Éditions Robert Laffont, Paris, France, 2008, pages 107-108-109.
|
|