Brigitte

“I’m looking for a note and, maybe, I’ll find it eventually. I may fail. Perhaps the piece is nothing more than an attempt to find it.”

Love variations: The variant, and its corollary the variation, inseparable from the Middle Ages, have established themselves, particularly since Eloge de la variante (In praise of the variant) by Bernard Cerquiglini and the term of “mouvance” (mobility) inaugurated by Paul Zumthor, as genuine writing processes. Extending them to the musical field sounds quite obvious, and allows us furthermore to apprehend the modes of transmission and circulation of the medieval melodic repertoires.

Internationalement reconnu pour la qualité et l'originalité de ses projets, Alla francesca reste fidèle à ses objectifs et choix esthétiques initiaux.

Le chansonnier de Bayeux, un manuscrit de luxe pour des chansonnettes.
Ici, les pièces appartiennent à toutes sortes de genres : chansons d’amour (parfois courtois, plus souvent grivois), airs à boire, satires, chansons de femme, d’autres se rapportant à des évènements et personnages de la Guerre de Cent Ans (Le Roy engloys et Hellas Ollivier Vasselin). Ne manquent que les chansons pieuses : même l’incipit Belle tres doulce, mère Dieu cache en fait une suite fort leste. Un contraste poétique et musical est introduit au cœur même de certaines chansons (J’ay veu la beaulté m’amye). Certains thèmes ont navigué au gré des siècles ; ainsi le dialogue d’un père avec sa fille rebelle dans La belle se siet, déjà mis en musique à l’époque de Guillaume Dufay, deviendra notre enfantine Ne pleure pas, Jeannette connue sur une toute autre mélodie.

Brigitte Bardot The archetypal sex kitten, Brigitte Bardot was the first foreign-language star ever to attain a level of international success comparable to America's most popular homegrown talents. While the vast majority of her motion pictures failed to rank even remotely close to the best of her native France's prodigious New Wave-era output, they proved a major breakthrough in establishing a market for foreign films in English-speaking countries; indeed, for all of the acclaim deservedly heaped on the more gifted actors and directors of her day, perhaps no other factor was more crucial to the far-reaching success of world cinema than Bardot's sultry allure.

Of all the strange records this French vanguard pop chanteuse ever recorded, this 1971 collaboration between the teams of Brigitte Fontaine and her songwriting partner Areski and the Art Ensemble of Chicago – who were beginning to think about returning to the United States after a two-year stay – is the strangest and easily most satisfying. While Fontaine's records could be beguiling with their innovation, they occasionally faltered by erring on the side of gimmickry and cuteness.

Following the acquisition of an Erard fortepiano in 1803, Beethoven was inspired to write this sonata, one of the finest among his 32. The composer had known for about two years that he was losing his hearing, but he was far from complete deafness.

Fausses « Brigitte » et fausses soeurs siamoises, Sylvie Hoarau et Aurélie Saada constituent le duo le plus pétillant et le plus atypique de la pop française. Que ce soit sur son premier album ou sur les scènes, Brigitte a prouvé son pouvoir de décalaminer un style parfois auto-complaisant. Le plus dur dans son cas de figure est maintenant de prouver qu'il peut durer sans devenir un cliché de lui-même.

BRIGITTE FONTAINE'S LANDMARK 1968 LP, ARRANGED BY JEAN-CLAUDE VANNIER REDEFINED FRENCH POP THREE YEARS BEFORE GAINSBOURG’S HISTOIRE DE MELODY NELSON. THE ALBUM IS REISSUED HERE IN A DELUXE EDITION FEATURING THE ORIGINAL ALBUM PLUS A WEALTH OF BONUS MATERIAL - THE 2-LP EDITION FEATURES A 20-PAGE BOOKLET WITH RARE PHOTOS AND CONTRIBUTIONS BY STEREOLAB’S LAETITIA SADIER, JEREMY ALLEN, BENOÎT MOUCHART AND BENJAMIN BAROUH “Brigitte Fontaine is not crazy, she talks about the complex, unhinged world we still live in” Lætitia Sadier. Wewantsounds is delighted to reissue French pop icon Brigitte Fontaine’s landmark 1968 album Brigitte Fontaine Est Folle, originally released on the cult label Saravah and arranged by Jean-Claude Vannier. approved by the artist, this reissue features the original album, newly remastered from the original tapes, along with demos, instrumentals, and a live rendition of “Il Pleut” recorded for France Inter/ORTF. The LP and CD editions also includes a bilingual booklet with introductions by journalist Jeremy Allen and Stereolab’s Laetitia Sadier, essays by Brigitte Fontaine’s biographer Benoît Mouchart and Benjamin Barouh, plus full lyrics and rare archival photos.