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A Concert Review by Christof Graf
Leonard Cohen`s Tower Of Song: A Grand Gala Of Excellence Without Compromise by Christof Graf A Memorial Tribute To Leonard Cohen Bell Centre, Montreal/ Canada, 6th November 2017 A concert review by Christof Graf Photos by: Christof Graf “The Leonard Cohen Memorial Tribute ‘began in a grand fashion,” wrote the MONTREAL GAZETTE. “One Year After His Death, the Legendary Singer-Songwriter is Remembered, Spectacularly, in Montral,” headlined the US-Edition of NEWSWEEK. The media spoke of a “Star-studded Montreal memorial concert which celebrated life and work of Leonard Cohen.” –“Cohen fans sing, shout Halleluja in tribute to poet, songwriter Leonard,” was the title chosen by THE STAR. The NATIONAL POST said: “Sting and other stars shine in fast-paced, touching Leonard Cohen tribute in Montreal.” Everyone present shared this opinion. It was a moving and fascinating event of the highest quality. The first visitors had already begun their pilgrimage to the Hockey Arena of the Bell Centre at noon. The organizers reported around 20.000 visitors in the evening. Some media outlets estimated 16.000, others 22.000. Many visitors came dressed in dark suits and fedora hats, an homage to Cohen’s “work attire.” Cohen last sported his signature wardrobe during his over three hour long concerts from 2008 to 2013. How many visitors were really there was irrelevant; the Bell Centre was filled to the rim. The “Tower Of Song- A Memorial Tribute To Leonard Cohen” was sold out. Expectations were high as fans of the Canadian Singer/Songwriter pilgrimmed from all over the world to Montreal to pay tribute to their deceased idol. -
'Le Chant Des Partisans' (Song of the Partisans), Sung by Anna Marly, Was One of the Most Important and Frequently Performed
http://holocaustmusic.ort.org/resistance-and-exile/french-resistance/le-chant-des-partisans/ ‘Le Chant des partisans’ (Song of the partisans), sung by Anna Marly, was one of the most important and frequently performed songs in the French Resistance. It became a symbol of France’s stand against the Nazis, and also played a functional role in several resistance movements in France and abroad. Born in Russia during the October Revolution of 1917, Marly escaped with her mother shortly after her first birthday. She led a remarkably varied life, including living in Menton, working as a ballet dancer in Monte Carlo and studying with Prokofiev, before moving in 1934 to Paris where she worked in the cabarets. After the fall of France in 1940, Marly fled to London, where she made contact with the Free French forces. Emmanuel d’Astier, a prominent Resistance leader, heard Marly singing an old Russian air and had the idea of adding resistance lyrics. While taking refuge in d’Astier’s house, journalist Joseph Kessel and his nephew Maurice Druon carried out this task and the song was first broadcast on Radio-Londres, the French Resistance radio station broadcast from London, in 1943. Its popularity soared from here: the radio presenter André Gillois liked the song so much that he made it the theme tune for the BBC. In France, since the national anthem ‘La Marseillaise’ (The song of Marseille) was banned by the Nazis, ‘Le Chant des partisans’ was used instead as the official ersatz national anthem by the Free French Forces, and after the war it became a temporary national anthem for France. -
Notions of Self and Nation in French Author
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 6-27-2016 Notions of Self and Nation in French Author- Aviators of World War II: From Myth to Ambivalence Christopher Kean University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Kean, Christopher, "Notions of Self and Nation in French Author-Aviators of World War II: From Myth to Ambivalence" (2016). Doctoral Dissertations. 1161. https://opencommons.uconn.edu/dissertations/1161 Notions of Self and Nation in French Author-Aviators of World War II: From Myth to Ambivalence Christopher Steven Kean, PhD University of Connecticut, 2016 The traditional image of wartime aviators in French culture is an idealized, mythical notion that is inextricably linked with an equally idealized and mythical notion of nationhood. The literary works of three French author-aviators from World War II – Antoine de Saint- Exupéry, Jules Roy, and Romain Gary – reveal an image of the aviator and the writer that operates in a zone between reality and imagination. The purpose of this study is to delineate the elements that make up what I propose is a more complex and even ambivalent image of both individual and nation. Through these three works – Pilote de guerre (Flight to Arras), La Vallée heureuse (The Happy Valley), and La Promesse de l’aube (Promise at Dawn) – this dissertation proposes to uncover not only the figures of individual narratives, but also the figures of “a certain idea of France” during a critical period of that country’s history. -
Leonard Cohen in French Culture: a Song of Love and Hate
The Journal of Specialised Translation Issue 29 – January 2018 Leonard Cohen in French culture: A song of love and hate. A comparison between musical and literary translation Francis Mus, University of Liège and University of Leuven ABSTRACT Since his comeback on stage in 2008, Leonard Cohen (1934-2016) has been portrayed in the surprisingly monolithic image of a singer-songwriter who broke through in the ‘60s and whose works have been increasingly categorised as ‘classics’. In this article, I will examine his trajectory through several cultural systems, i.e. his entrance into both the French literary and musical systems in the late ‘60s and early ’70s. This is an example of mediation brought about by both individual people and institutions in both the source and target cultures. Cohen’s texts do not only migrate between geo-politically defined source and target cultures (Canada and France), but also between institutionally defined musical and literary systems within one single geo-political context (France). All his musical albums were reviewed and distributed there soon after their release and almost his entire body of literary works (novels and poetry collections) has been translated into French. Nevertheless, Cohen’s reception has never been univocal, either in terms of the representation of the artist or in terms of the evaluation of his works, as this article concludes. KEYWORDS Leonard Cohen, cultural transfer, musical translation, retranslation, ambivalence. I don’t speak French that well. I can get by, but it’s not a tongue I could ever move around in in a way that would satisfy the appetites of the mind or the heart. -
“L'art N'a Pas De Patrie?” Musical Production and Resistance in Nazi
Title Page “L’art n’a pas de patrie?” Musical Production and Resistance in Nazi-Occupied Paris, 1940-1944 by Julie Ann Cleary B.M. in Clarinet Performance, Rhode Island College, 2012 M.F.A. in Historical Musicology, Brandeis University, 2014 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 Committee Membership Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Julie Ann Cleary It was defended on April 22, 2019 and approved by Dr. Olivia Bloechl, Professor, Department of Music Dr. Lisa Brush, Professor, Department of Sociology Dr. Michael Heller, Associate Professor, Department of Music Dr. Deane L. Root, Professor, Department of Music Dissertation Director: M.A. James P. Cassaro, Professor, Department of Music ii Copyright © by Julie Ann Cleary 2019 iii Abstract “L’art n’a pas de patrie?” Music Production and Resistance in Nazi-Occupied Paris, 1940-1944 Julie Ann Cleary, Ph.D. University of Pittsburgh, 2019 Scholarship from various fields including history, Vichy studies, sociology, and musicology have dissected myths surrounding the Occupation of France (1940-1944), which fall into two generalities of total collaboration or total resistance. The reality lies in the middle, in which many individuals participated in resistance or collaboration in a variety of degrees. I argue that composing, performing, and listening to music are substantial resistant acts, using the resistance movements in Occupied Paris as a case study. This study has two overarching goals. -
Communications Volume 21, No
THE U.S. AIR FORCES ESCAPE & EVASION SOCIETY SUMMER 2OO9 Communications Volume 21, No. 2 WICH|TA FALLS, TEXAS 76307-2501 June 1 1, 2009 .AN^tt*tNNt4HNlryhtNt-ht^tNNtrytryt4^)NtT ,HA,A,FNNNFJd|NNN JF,ltF,Jr\JAtF.ilryF.JF.tFJA.JF.rFJ Translatedfrom a German-language newspaper in occupied Greece Seven North American planes were shot down after an attack on the Greek town of Salonikis. The flight crew of the planes were able to survive the crash. A few hours afterwards they were led through the town on their way to prison. The people of the town watched the prisoners partly with curiosity and partly with cold disdain. Hurtful curses were heard. The prisoners themselves took no notice of the barbaric devastation that their attack on a peaceful Greek town had caused. See story of a reunion 64 years later, Page 22. Page 2 SUMMER 2OO9 U.S. AIR FORCES ESCAPE & EVASION SOCIETY COMMUNICATIONS The Prez Sez (www. By Richard M. Smith ai rto rceescape. co m> <afeesone@hotm a il.com> VOLTIME' 21, Number 2 June llr2009 Good Morning fiom bfight and sunny ofiertail Lake: For the first time in 44 Years OFFICERS AND DIRECTORS : no longer have a FOUNDER AND HONORARY CHAIRMAN: Ralph K. Patton, ard 11 months, I Apt. #1205, 8100 Connecticut Ave., Chevy Chase MD 20815; position on the AFEES Board of Phone 2 I 8-65 7 -447 8; F ax 301 -657 -447 9 Directors. For Margaret and PRESIDENT AI,TD COMMUNICATIONS EDITOR: LATry Grauerholz, PO Box 2501, Wichita Falls TX 76307-2501; myself, AFEES has oPened many Phone 940-692-6700 interesting doors and exposed us to PAST PRESIDENT: many interesting MY time Richard M. -
La Complainte Du Partisan
LA COMPLAINTE DU PARTISAN I - Présentation Auteur : Emmanuel d'Astier de la Vigerie (dit : « Bernard »), né le 6 janvier 1900 et mort le 12 juin 1969 à Paris est officier de marine, journaliste et homme politique français. Grand résistant pendant la Seconde Guerre mondiale, il fonde le mouvement de résistance Libération-Sud et le journal Libération, puis devient, en novembre 1943 et jusqu'en septembre 1944, Commissaire à l'Intérieur de la France libre. Il est l'auteur de la chanson la Complainte du partisan écrite à Londres en 1943. Après-guerre, il sera l'un des "compagnons de route" du PCF, puis un gaulliste de gauche. Il est Compagnon de la Libération. Musique : Anna Marly, de son vrai nom Anna Betoulinsky, chanteuse et guitariste française d'origine russe née le 30 octobre 1917 à Pétrograd et morte le 15 février 2006 à Palmer (Alaska). Nature du document : texte poétique (une complainte est un chant populaire abordant un sujet grave et triste). Date de création: 1943 II - Description Poème composé de six quatrains (un quatrain est une strophe de quatre vers) Pas de rimes, très peu de ponctuation (= forme poétique moderne) Les vers mesurent : – le 1er et le 2ème de chaque strophe : 7 syllabes (heptasyllabes) – le 3ème : 5 syllabes (pentasyllabe) – le 4ème : 6 syllabes (hexasyllabe). Ce texte fut mis en musique et chanté par Anna Marly, ce qui accentue l'idée que c'est une complainte. Plus tard, en 1969, l'année du décès de l'auteur, c'est Leonard Cohen, un chanteur canadien francophone qui en a proposé une version intitulée « The Partisan ». -
Le Chant Des Partisans
Arts, créations, cultures Arts, espace, temps Arts, états et pouvoir Arts, mythes et religions Arts, techniques, Arts, ruptures et expressions continuités L‘œuvre d’art engagée : le chant des partisans Arts de l'espace Arts du langage Arts du quotidien Arts du son Arts du spectacle vivant Arts du visuel Le contexte historique " Ce chant est à jamais inscrit dans l'histoire" (Pierre SEGHERS, "La Résistance et ses poètes", Ed. Seghers, 1975). - En 1943, au niveau international : les forces alliées prennent le dessus sur le nazisme (victoire de l’URSS à Stalingrad, batailles de Midway et Guadalcanal dans le Pacifique, victoire de l’Angleterre à El Alamein, dans l’année 1942). Dès 1941, la résistance débute dans l’ensemble des pays occupés. - En France, en 1943, la mise en place du STO (Service du Travail Obligatoire) et de la milice par Darnand ainsi que l’amplification des rafles réactivent la résistance. Ainsi, la pression s’accentue sur la population française (novembre 1942 : suppression de la ligne de démarcation avec une seule France, le nord sous domination nazie et le sud pressurisé par la milice). La résistance devient donc plus importante et s’organise en FFI ou Forces Françaises de l’Intérieur. On peut souligner le rôle notoire des FTP ou Francs-Tireurs Partisans (communistes) au sein de la résistance. Explication historique du chant : Ce chant met en évidence l’intensification de la résistance et la volonté de libérer le pays. Il s’agit par ailleurs de rechercher tous les termes mettant en avant la période sombre de l’occupation de la France. -
Les Russes Et Les Soviétiques En France Durant La Seconde Guerre Mondiale : Entre Collaboration Et Résistance Anastasia Pavlova
Les Russes et les Soviétiques en France durant la Seconde guerre mondiale : entre collaboration et résistance Anastasia Pavlova To cite this version: Anastasia Pavlova. Les Russes et les Soviétiques en France durant la Seconde guerre mondiale : entre collaboration et résistance. Histoire. 2015. dumas-01256694 HAL Id: dumas-01256694 https://dumas.ccsd.cnrs.fr/dumas-01256694 Submitted on 15 Jan 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Université Paris 1 Panthéon Sorbonne – École Normale Supérieure de Cachan UFR 09 Master Histoire des sociétés occidentales contemporaines XIXème – XXIème siècles Centre d’Histoire Sociale du XXème siècle LES RUSSES ET LES SOVIÉTIQUES EN FRANCE DURANT LA SECONDE GUERRE MONDIALE : ENTRE COLLABORATION ET RÉSISTANCE Mémoire de Master 2 recherche Présenté par Mlle Anastasia Pavlova Sous la direction de M. Olivier Wieviorka et Mme Catherine Gousseff 2014/2015 Université Paris 1 Panthéon Sorbonne – École Normale Supérieure de Cachan UFR 09 Master Histoire des sociétés occidentales contemporaines XIXème – XXIème siècles Centre d’Histoire Sociale du XXème siècle LES RUSSES ET LES SOVIÉTIQUES EN FRANCE DURANT LA SECONDE GUERRE MONDIALE : ENTRE COLLABORATION ET RÉSISTANCE Mémoire de Master 2 recherche Présenté par Mlle Anastasia Pavlova Sous la direction de M. -
Écoute Musicale Chant Des Partisans – Anna Marly
Écoute musicale Chant des partisans – Anna Marly Anna Marly (1917-2006) : chanteuse et guitariste française d'origine russe, née le 30 octobre 1917 Saint Pétersbourg en Russie et morte le 15 février 2006 en Alaska. Elle a composé la musique du Chant des partisans pour la guitare et en a écrit les paroles originales russes. Après la seconde guerre mondiale, elle quitte la France pour l'Amérique du Sud et sillonne l'Afrique avant de s'installer aux États- Unis. Le 17 juin 2000, elle interprète Le Chant des partisans au Panthéon avec les chœurs de l'Armée française, à la veille du 60e anniversaire de l’appel du 18 Juin du général de Gaulle. Chant des partisans : composé en 1942, la musique et les paroles du chant sont d’abord russes. Les paroles françaises ont été écrites en 1943 à Londres par Joseph Kessel et Maurice Druon. Le Chant des partisans, « La Marseillaise de la Résistance », fut créé en 1943 à Londres. Immédiatement, il devint l'hymne de la Résistance française, et même européenne. Il est aussi un appel à la lutte fraternelle pour la liberté : « C'est nous qui brisons les barreaux des prisons pour nos frères » ; la certitude que le combat n'est jamais vain : « si tu tombes, un ami sort de l'ombre à ta place ». Devenu l'indicatif de l'émission de la radio britannique BBC Honneur et Patrie, puis comme signe de reconnaissance dans les maquis, Le Chant des partisans était devenu un succès mondial. Anna avait choisi de siffler ce chant, car la mélodie sifflée restait audible malgré le brouillage de la BBC effectué par les Allemands. -
COVERLIST HERE.Xlsx
Jungr, Barb 1000 kisses deep Hard rain- The songs of Bob Dylan and Leonard Cohen UK 2014 Eng CD Contretemps, Les A bunch of lonesome heroes Les Contretemps Canada 1969 Eng xx Outrageous Cherry A bunch of lonesome heroes Stereo Action Rent Party USA 1994 Eng B3 Ponies in the surf A bunch of lonesome heroes See you happy USA 2008 Eng mc-28 Red A bunch of lonesome heros Songs from a room France 2001 Eng CD Art of Time Ensemble A Singer Must Die A Singer Must Die Canada 2010 Eng mc-32 Bano, Al & Power, Romina A singer must die Stranger music: A tribute to Leonard Cohen Italy 2009 Eng CD Bissex, Rachel A singer must die Don't look down USA 1995 Eng L3 Conspiracy of Beards A singer must die Live at Heritage Hall USA 2013 Eng CD Fatima Mansions A singer must die I'm your fan France 1991 Eng FA Monsieur Camembert A singer must die Famous blue cheese Australia 2007 Eng CD O'Callaghan, Patricia A singer must die Real emotional girl Canada 2000 Eng mc-5 Page and the Art Of Time Ensemble A singer must die A singer must die USA 2010 Eng mc-31 Pascal, Daniele A singer must die Dance me to the end of love S. Africa 1996 Eng PA Warnes, Jennifer A singer must die Famous Blue Raincoat USA 1986 Eng WA Jusic, Ibrica A singer must die/Nek pjevac umre Hazarder Croatia 1999 Cro CD Orlandi & Poltronieri A singer must die/Un cantante deve morire Comme traduire… L.Cohen Italy 2001 Ita CD Hugo, Tara A sip of wine (lyrics by LC) Tara Hugo Sings Philip Glass USA 2012 Eng xx Finches, The A Stranger Song (Inspired by LC) Six songs US 2005 Eng mc-35 Boel, Hanne A thousand -
Leonard Cohen: a Crack in Everything the Jewish Museum April 12 – September 8, 2019
Leonard Cohen: A Crack in Everything The Jewish Museum April 12 – September 8, 2019 Exhibition Wall Texts LEONARD COHEN: MOMENTS COMPILED BY CHANTAL RINGUET Topos_JM_LC_WallTexts_24p.indd 1 4/4/19 12:34 PM SEPTEMBER 21, 1934 BIRTH OF LEONARD NORMAN COHEN IN WESTMOUNT Born into a Westmount Jewish family that was part of Montreal’s Anglo elite, Leonard Norman Cohen was the second child of Masha Klinitsky- Klein and Nathan Bernard Cohen. Lyon Cohen, Leonard’s paternal grandfather, a well- known businessman and philanthropist, was an important figure in the Jewish community. He started the Freedman Company, one of the largest clothing manufacturers in Montreal, and cofounded the Canadian Jewish Times (1897), the first English- language Jewish newspaper in Canada. Lyon Cohen was also president of several organizations, including the Canadian Jewish Congress and Congregation Shaar Hashomayim. He helped Jewish immigrants from the Russian Empire settle in Canada—among them, from Lithuania, the learned Rabbi Solomon Klinitsky- Klein and his family. Lyon’s son, Nathan Cohen, a lieutenant in the Canadian army and World War I veteran, later ran the family business. From his father, the young Leonard inherited a love of suits; from his mother, Masha, who trained as a nurse, he received his charisma and his love of songs. Cohen’s well- to- do family was quite different from the Jewish masses who arrived in Montreal in the early twentieth century. Many of these immigrants spoke Yiddish as their native language and worked in garment factories. Despite his extensive travels and his residence in Los Angeles, Cohen always returned to Montreal to “renew his neurotic affiliations,” as he often repeated in interviews.