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New Book. Shipped From Uk. This Book Is Printed On Demand. Established Seller Since 2000.

This set of three CDs contains the complete Chansonnier Cordiforme, perhaps the most beautiful of all surviving music manuscripts, whose first owner was Jean de Montchenu (d. 1497). It was compiled during the 1470 's and contains 43 songs from the preceding 30 years by Dufay, Binchois, Ockeghem, Busnoys and other composers of the time. This was the first, and remains the only complete recording ever made of an entire fifteenth-century songbook; and it gives everything in it's original order, sta

Ex privater bibliothek, kleine vignette & stempel auf vorblatt, kleber am buchrücken, sonst sehr gut,NUR-XL-787

A new kind of songbook emerged in the later fifteenth century: personalized, portable, and lavishly decorated. Five closely related chansonniers, copied in the Loire Valley region of central France c. 1465-c. 1475, are the earliest surviving examples of this new genre. The Loire Valley Chansonniers preserve the music of such renowned composers as Guillaume Du Fay, Johannes Ockeghem, and Antoine Busnoys. But their importance as musical sources has overshadowed the significance of these manuscripts as artifacts in their own right. This book places the physical objects at center, investigating the means by which they were produced and the broader culture in which they circulated. Jane Alden performs a codicological autopsy upon the manuscripts and reveals the hitherto unrecognized role of scribes in shaping the transmission and reception of the chanson repertory. Alden also challenges the long-held belief that the Loire Valley Chansonniers were intended for royal or noble patrons. Instead, she argues that a rising class of bureaucrats--notaries, secretaries, and other court officials--commissioned these exquisite objects. Active as writers and participants in poetry competitions, these individuals may even have written some of the chansons' texts. The unique integration of image, text, and music found in chansonniers extends their appeal to a broad readership. But for the nineteenth-century scholars who rediscovered these manuscripts, the larger literary and visual resonances were not of primary interest. Alden documents the tangle of motivations--national identity, populist politics, and the rise of the musical masterwork--that informed the earliest writings on these books. Only now is their multifaceted structure the inspiration for a new generation of readers.

Articles de A. Roncaglia, M.L. Meneghetti, P. Bourgain, A. Ziino, A. Rossell, F. Zufferey, G. Brunel-Lobrichon, V. Bertolucci-Pizzorusso, A. Ferrari, M. Careri, M. Tyssens, R. Crespo, R. Richter-Bergmeier, E. Gonçalves, C. Alvar et J. Monfrin.

A new kind of songbook emerged in the later fifteenth century: personalized, portable, and lavishly decorated. Five closely related chansonniers, copied in the Loire Valley region of central France c. 1465-c. 1475, are the earliest surviving examples of this new genre. The Loire Valley Chansonniers preserve the music of such renowned composers as Guillaume Du Fay, Johannes Ockeghem, and Antoine Busnoys. But their importance as musical sources has overshadowed the significance of these manuscripts as artifacts in their own right. This book places the physical objects at center, investigating the means by which they were produced and the broader culture in which they circulated. Jane Alden performs a codicological autopsy upon the manuscripts and reveals the hitherto unrecognized role of scribes in shaping the transmission and reception of the chanson repertory. Alden also challenges the long-held belief that the Loire Valley Chansonniers were intended for royal or noble patrons. Instead, she argues that a rising class of bureaucrats--notaries, secretaries, and other court officials--commissioned these exquisite objects. Active as writers and participants in poetry competitions, these individuals may even have written some of the chansons' texts. The unique integration of image, text, and music found in chansonniers extends their appeal to a broad readership. But for the nineteenth-century scholars who rediscovered these manuscripts, the larger literary and visual resonances were not of primary interest. Alden documents the tangle of motivations--national identity, populist politics, and the rise of the musical masterwork--that informed the earliest writings on these books. Only now is their multifaceted structure the inspiration for a new generation of readers.

A pan-demonium for chansonnier and orchestra after children's rhymes by HC Artmann.Features:Pages: 176Instrumentation: OrchestraInstrumentation: Vo...

Composer: Joseph Canteloube Canteloube Chansonnier Francais Medium Voice A Cappella Publisher: Alphonse Leduc Category: Classical Series: Led...

Rumble Records present a reissue of Serge Gainsbourg debut 10" Du Chant A La Une! And it's immediate follow up, recorded with Alain Goraguer Et Son Orchestre, originally released in 1958 and 1959. The two 10" records belong to Gainsbourg's chansonnier period, and they're far from that style that gave us his late minimalistic pop atmospheres for which he is well known. But they are already a nice take on Gainsbourg's future smoky night club attitude that later helped consolidate his maudit charac

A collection of autobiographical and lyrical poetry by this contemporary American chansonnier

When Serge Gainsbourg died in 1991, France went into mourning: François Mitterand himself proclaimed him “our Baudelaire, our Apollinaire.” Gainsbourg redefined French pop, from his beginnings as cynical chansonnier and mambo-influenced jazz artist to the ironic “yé-yé” beat and lush orchestration of his 1960s work to his launching of French reggae in the 1970s to the electric funk and disco of his last albums. But mourned as much as his music was Gainsbourg the man: the self-proclaimed ugly lover of such beauties as Brigitte Bardot and Jane Birkin, the iconic provocateur whose heavy-breathing “Je t’aime moi non plus” was banned from airwaves throughout Europe and whose reggae version of the “Marseillais” earned him death threats from the right, and the dirty-old-boy wordsmith who could slip double-entendres about oral sex into the lyrics of a teenybopper ditty and make a crude sexual proposition to Whitney Houston on live television. Gilles Verlant’s biography of Gainsbourg is the best and most authoritative in any language. Drawing from numerous interviews and their own friendship, Verlant provides a fascinating look at the inner workings of 1950s–1990s French pop culture and the conflicted and driven songwriter, actor, director and author that emerged from it: the young boy wearing a yellow star during the German Occupation; the young art student trying to woo Tolstoy’s granddaughter; the musical collaborator of Petula Clark, Juliette Greco and Sly and Robbie; the seasoned composer of the Lolita of pop albums, Histoire de Melody Nelson; the cultural icon who transformed scandal and song into a new form of delirium.