Gabriel Yared in the spotlight at Radio France: 40 years of film music

Gabriel Yared’s music featured on Radio France: the opportunity to rediscover 40 years of creation for the big screen, from the English Patient to Auntie Danielle, including L’Amant and Le Talentueux Mr Ripley.

Few of the French film music composers have been awarded an Oscar. Gabriel Yared is part of this very small circle, which also includes Maurice Jarre, Michel Legrand , George Delerue, Ludovic Bource and Alexandre Desplat . The audience-less concert offered by Radio France, with Gabriel Yared at the piano and the Radio France Philharmonic Orchestra under the direction of Dirk Brossé, offers listeners a glimpse of the French composer ‘s broad musical palette.

The contemplative and romantic scores, tinged with a deep melancholy, hold the high part of the program. The music of Camille Claudel (film directed by Bruno Nuytten in 1988) strongly influenced the own admission of Gabriel Yared by the Tenth Symphony of Mahler and Transfigured Night by Schoenberg , leads the listener into a heightened lyricism, which tormented the treble violins interact with the dark bass of cellos. In the soundtrack of The English Patient (Anthony Minghella, 1996), it is the comforting brass that comes to support the passionate strings, all guided by a melancholy bassoon.

The performed excerpts also reveal the influence of jazz in the work of Gabriel Yared. This is particularly true of the score of 37 ° 2 in the morning  (Jean-Jacques Beineix, 1986), where Lewis Morison’s saxophone, with its intense and sensual sound, plunges into a jazzy atmosphere, which would perfectly suit the images of a sunrise over Manhattan. The sounds are also felt, although in a more discreet way, in the soundtrack of L’Amant , a delicate page relating the birth of the amorous passion, from which emerge, in the middle of a delicate harp and cottony layers of violins , some jazzy piano notes.

A great lover of classical music, Gabriel Yared does not hesitate to pay tribute to his masters in his works. This is the case in The English Patient , for which he composed an elegant prelude in the style of Bach , or even in the score of the ballet Raven Girl , choreographed in 2013 by Wayne McGregor , a light refrain in which the influence is felt. by Mozart , played here with malice by the pianist Suzana Bartal, offering a nice moment of complicity with the orchestra.

A composer without borders, Gabriel Yared ventures into Argentinian music with La Lune dans le gutter (Jean-Jacques Beineix, 1983). Here he performs a tango for large orchestra, where Juanjo Mosalini’s mysterious and lascivious bandoneon dialogues with a solo violin, performed with passion by Nathan Mierdl, with almost Gypsy accents.

The concert is also an opportunity to discover new pages. Like this excerpt from the soundtrack of Troy (Wolfgang Petersen, 2004), a big budget Hollywood peplum, for which the composer’s music was ultimately not chosen. A surprising decision when listening to this excerpt, supposed to accompany the bag of the city of Troy, martial page in which the brass warriors sound the attack, supported by thunderous percussions. A page at the antipodes of another unpublished piece, Adagio for an unreleased film , a serious and majestic passacaglia inspired by Bach .

For her two interventions, the young soprano Héloïse Poulet, spotted a few years ago by the composer, delivers a successful performance, without suffering from the comparison with the two singular voices that preceded her on the screen. In “Lullaby for Cain”, lugubrious and melancholy lullaby initially sung by Sinéad O’Connor for the film The Talented Mr. Ripley(Anthony Minghella, 1999), the crystalline and delicate voice of the soprano subtly alternates moments of great sweetness and fury. It begins with an almost imperceptible thread of voice, on the edge, picking up the high notes with a touching fragility. But very quickly the instruments were carried away, and the voice was overwhelmed by the orchestra, only succeeding in extricating itself from it fully during the apotheosis of the piece, the pronunciation of Cain’s name, in a heart-rending cry.

Héloïse Poulet makes the stylistic splits for her second stint on stage, where she performs “La Complainte de la vieux salope”, a humorous song interpreted by Catherine Ringer in Tatie Danielle (Étienne Chatiliez, 1990), a large demonstrative number which is more similar from the world of opera. The soprano delivers a performance that is certainly less bombastic than the singer of Rita Mitsouko, who played the diva to their heart’s content on this piece, but this allows the interpretation to gain in elegance and vocal power. Héloïse Poulet shows great dramatic expressiveness and a beautiful length of breath, proudly showing off her piercing highs and her laughing vibrato, offering splendid vocalizations.

So many musical pages that allow us to grasp the universe of Gabriel Yared, carried here by the Philharmonic Orchestra of Radio France , under the precise and passionate direction of Dirk Brossé, whose musicians prove once again that they are capable of anything play, recalling the many bridges between classical music and film music

Source: Gabriel Yared in the spotlight at Radio France: 40 years of film music – news – Ôlyrix

Chanson du Jour: “LES MOULINS DE MON COEUR”

Round like a circle in a spiral, like a wheel within a wheel
Never ending or beginning on an ever spinning reel
Like a snowball down a mountain, or a carnival balloon
Like a carousel that’s turning running rings around the moon
Like a clock whose hands are sweeping past the minutes of its face
And the world is like an apple whirling silently in space
Like the circles that you find in the windmills of your mindLike a tunnel that you follow to a tunnel of its own
Down a hollow to a cavern where the sun has never shone
Like a door that keeps revolving in a half forgotten dream
Or the ripples from a pebble someone tosses in a stream
Like a clock whose hands are sweeping past the minutes of its face
And the world is like an apple whirling silently in space
Like the circles that you find in the windmills of your mindKeys that jingle in your pocket, words that jangle in your head
Why did summer go so quickly, was it something that you said?
Lovers walking along a shore and leave their footprints in the sand
Is the sound of distant drumming just the fingers of your hand?
Pictures hanging in a hallway and the fragment of a song
Half remembered names and faces, but to whom do they belong?
When you knew that it was over you were suddenly aware
That the autumn leaves were turning to the color of her hair!
Like a circle in a spiral, like a wheel within a wheel
Never ending or beginning on an ever spinning reel
As the images unwind, like the circles that you find
In the windmills of your mind

Michel Legrand – Legrand Jazz

Complete with the dust and scratches, this is a beautiful LP recording from Michel Legrand.

SIDE ONE TRACKS
1. The Jitterbug Waltz 0:00
2. Nuages 5:20
3. Night In Tunisia 7:45
4. Blue And Sentimental 14:32
5. Stompin’ At The Savoy 17:55
6. Django 21:30

SIDE TWO TRACKS
1. Wild Man Blues 0:00
2. Rosetta 3:25
3. ‘Round Midnight *REMOVED DUE TO COPYRIGHT CLAIM*
4. Don’t Get Around Much Anymore 10:43
5. In A Mist 13:20

French composer Michel Legrand has died

The composer of the soundtracks to”Demoiselles de Rochefort” (Young Girls of Rochefort) and “Parapluies de Cherbourg” (Windmills of Your Mind) has died at the age of 86. Vogue pays homage to him.

He was one of the greatest “grands compositeurs” of the music of French films. Who wouldn’t recognize the uplifting lyrics of the song sung by the twins played by Catherine Deneuve and Françoise Dorléac in Jacques Demy’s Les Demoiselles de Rochefort (Young Girls of Rochefort). Who wouldn’t be moved by the melodies of “Les Parapluies de Cherbourg” (Windmills of Your Mind), the first French film to be entirely sung, by the same director, a key figure In Legrand’s story, with whom he would collaborate on 9 films.

Michel Legrand was also a pianist and singer. The son of a musician, this jazz fan, who first trained at the Conservatoire National Supérieur de Paris, would go on the work with a string of musical legends including Henri SalvadorMaurice ChevallierBoris VianClaude Nougaro in France and Miles DavisBill Evans and John Coltrane in America.

He tested out many musical styles, including rock, as in 1956, when, upon his return from America, he worked on several titles with two fellow French music legends, working under pseudonyms; Henry Cording aka Henri Salvador (singer) and Vernon Sinclair aka Boris Vian (lyrics).

In cinema, it was with the director Jacques Demy that he would collaborate the most, starting with the film Lola in 1961, then Les Parapluies de Cherbourg (Windmills of Your Mind) which won the Palme d’Or at the Cannes Festival of 1964, before being awarded four Oscars. These we followed by Les Demoiselles de Rochefort (Young Girls of Rochefort) in 1968, Peau d’âne (Donkey Skin) in 1970 and six other films.

The composer, goes down in history as truly shaping the sound of French cinema.

Source: French composer Michel Legrand has died