In the south of France there is a tiny town called Saintes Maries de la Mer. Inside the town church is a wooden boat . . . with two wooden ladies—one in a rose dress and one in blue. Both are called M
The International Tribunal for the Law of the Sea is an independent judicial body established by the United Nations Convention on the Law of the Sea. Le Tribunal international du droit de la mer est u
“Entrancing and engaging . . . Baptiste enters an all-new folktale adaptation into our regular fantasy lore . . . Original. Haunting.” —A Fuse #8 ProductionCorinne La Mer isn’t afraid of anything. Not
La mer stands at the centre of Debussy's achievement: described by the composer as 'a seascape without figures', it is arguably the greatest and most original French symphony. In this study La mer is considered in the context of Debussy's personal and musical development, and in the French musical renaissance in general, looking back to César Franck and forward to the orchestral Images and Jeux. The author uses new biographical information and a wide range of sources to reveal the period of La mer's composition as one of intense emotional turbulence. Detailed discussion of performance styles draws on current recordings, and two analytical chapters trace the growth of ideas through the work. Studies of rhythm, motif and tonality show how Debussy generates 'narratives' across the three movements, which give La mer a structural integrity unparalleled in French music at the turn of the century.
You can play these popular piano pieces as performed by Richard Clayderman, presented here in easy arrangements. Fifteen numbers including: L'Enfant Et La Mer * Jardin Secret * Ballade Pour Adeline *
This book is the first major publication devoted to the music of Janácek, now widely regarded as one of the most important composers of the early twentieth century. The essays, all by leading scholars, deal with a broad range of subjects relating to opera, symphonic poem, instrumental music, cultural context and reception. Some topics, such as the sources of Janácek's musical expressivity, questions of narrative, Janácek as musical analyst and Janácek as realist, are considered seriously for the first time, whilst other more conventional topics, such as 'speech melody' and Janácek's ethnographic activities, are reappraised. A transcription of Janácek's analytical study of 'Jeux de vagues' from Debussy's La mer is published for the first time, and this document is considered in the light of Janácek's theory of music as a whole and of the reception of La mer.
This study places the last three novels of Victor Hugo's maturity - Les Travailleurs de la mer (1866), L'Homme qui rit (1869), and Quatrevingt-Treize (1874) - within the context of his artistic develo
