Podcasts about Georges Auric

durée : 02:13:09 - Les Nuits de France Culture - par : Albane Penaranda - Henri Jeanson en maître de cérémonie d'un hommage en 1955 à l'un de ses plus chers amis : Louis Jouvet. À travers des archives et les souvenirs de nombreux témoins de sa vie de comédien, de metteur en scène, de chef de troupe, de professeur… cette émission réjouissante restitue Louis Jouvet. - réalisation : Virginie Mourthé - invités : Georges Auric; Louis Jouvet Acteur français; Béatrix Dussane Actrice française; Henri Sauguet Compositeur; Pierre Bost Auteur; Jean Renoir Cinéaste (1894 - 1979)

durée : 01:29:57 - Les Nuits de France Culture - par : Albane Penaranda - Le peintre Marc Chagall a 90 ans en 1977. Cette année-là, le Louvre lui consacre une exposition qui met en valeur sa production de la décennie écoulée. Avec les voix de Marc Chagall, André Malraux, Georges Auric et de nombreuses archives. - réalisation : Virginie Mourthé - invités : Marc Chagall Peintre et graveur naturalisé français; André Malraux Écrivain et homme politique français; Sylvie Andreu; Georges Auric

This week a light-hearted (and therefore much-needed!) tribute to the marvelous Felicia Weathers, who, in the midst of her burgeoning operatic career in the late 1960s, made two LPs of Schlagermusik, 1968's Liebe Love L'amour (which also sports the best record cover in the history of the LP!) and, the following year, Wunderbar ist die Welt. Both of these were arranged and conducted by one Harold M. Kirschstein, referred to in the liner notes as an important conductor and arranger. Imagine my surprise when, upon doing a little research, I discovered that this person was better known in his native United States as Henri René, whom I knew from his work with Eartha Kitt in the early days of her recording career. His arrangements are, of course, predictably delightful. Amid all her other successes, Felicia Weathers (like Maria Ewing a generation later) found her greatest fame performing the title role of Richard Strauss's Salome. This role may have put strain on her voice and shortened her career, but in the late 1960s her voice, as captured on these recordings, was a beguilingly beautiful instrument. She also displays a fine interpretive approach, keen linguistic sense, and vital communicative powers to these songs, which feature some of my favorite melodies ever, including those written by Georges Auric, Jimmy Webb, Harold Arlen, Henry Mancini, Jean-Paul Egide Martini, Oscar Straus, and Friedrich Hollaender. I supplement these delicious selections with two Rodgers and Hammerstein medleys from Weathers' 1969 album of songs from musicals, Hello, Young Lovers, which also features duets with the superb African American baritone William Ray, who was also based in Europe during those years. Enjoy this delicious, if brief, escape from reality! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Dana and Tom with Christine Duncan and Klarissa (I've Seen That) revisit Roman Holiday (1953): directed by William Wyler, written by Dalton Trumbo, Ian McClellan Hunter, and John Dighton, score by Georges Auric and Victor Young, starring Gregory Peck, Audrey Hepburn, and Eddie Albert.Plot Summary: In the pantheon of classic cinematic escapades, "Roman Holiday" stands as a luminous testament to the transformative power of love and the allure of adventure. Picture this: a weary princess, suffocated by the pomp and circumstance of royal life, seeks solace in the vibrant heart of Rome. Audrey Hepburn, in her iconic role as Princess Ann, embodies youthful exuberance and longing. Her quest for normalcy leads her into the unsuspecting arms of Gregory Peck's Joe Bradley, a hardened journalist looking for his next big scoop.This isn't just a love story—it's a celebration of serendipity. The narrative waltzes through the cobblestone streets of Rome, capturing the city's soul through enchanting vignettes: a Vespa ride, a mouthwatering gelato, and a dance by the Tiber. The chemistry between Hepburn and Peck is palpable with their performances grounding the whimsical tale in emotional truth.But "Roman Holiday" is more than escapist fantasy; it's a poignant commentary on the dichotomy between duty and desire, a meditation on the fleeting nature of freedom. As Ann returns to her royal obligations, we're left with a bittersweet reminder of the price of responsibility. In an era where reality often feels burdensome, this film invites us to lose ourselves in its magic, if only for a moment.Guests:Christine Duncan - Wife of Dana and Mother of Tom14x guest: Pretty Woman, Sleepless in Seattle, When Harry Met Sally, There's Something About Mary, My Fair Lady, Pillow Talk, The Odd Couple, Bringing Up Baby, A Few Good Men - Revisit, Guess Who's Coming to Dinner, Top Gun, Dial M for Murder, Anatomy of a Murder, and

durée : 00:20:10 - Les Nuits de France Culture - par : Albane Penaranda - En 1953, le compositeur Francis Poulenc se souvient de la création du groupe des Six en 1916. Georges Auric, Louis Durey, Arthur Honegger, Germaine Tailleferre, Darius Milhaud et lui-même forment un groupe qui est un véritable renouveau dans la musique française, sous le patronage d'Erik Satie. - invités : Francis Poulenc Compositeur et pianiste français

durée : 00:26:19 - Les Nuits de France Culture - par : Albane Penaranda - Par Georges Charensol et Jean Dalvèze - Avec Marie Laurencin (artiste peintre) et plusieurs de ses amis : Georges Auric, André Salmon, Pierre Bertin, Marcel Jouhandeau et André Beucler - Réalisation Henri Vermeil

durée : 00:15:57 - Les Nuits de France Culture - par : Albane Penaranda - La compositrice Germaine Tailleferre se racontait en dix entretiens en 1975. Dans le quatrième volet, elle se souvient de sa rencontre avec Erik Satie, Maurice Ravel et de la constitution du Groupe des Six avec Darius Milhaud, Arthur Honegger, Georges Auric, Louis Durey et Francis Poulenc.

durée : 01:02:18 - Les Nuits de France Culture - par : Albane Penaranda - Pour ce troisième volet de la série "Euphonia" de mai 1990, consacrée à "Jean Cocteau et la musique", Martine Cadieu et Rémy Stricker ont choisi d'évoquer l'extraordinaire versatilité du poète. Un artiste pluridisciplinaire aux talents foisonnants, nourri par un désir d'éternelle jeunesse. - invités : Georges Auric; Jean Cocteau Poète, écrivain, peintre, cinéaste, dramaturge; Germaine Tailleferre Compositrice française

Kate Molleson explores the spry and subtly surprising music of Germaine Tailleferre Kate Molleson revels in the spry and subtly surprising music of Germaine Tailleferre, with guests Barbara Kelly and Caroline Potter. Germaine Tailleferre first made a splash in the heady atmosphere of 1920s Paris. She was part of a lively, bohemian scene in which poetry and exhibitions went hand in hand with performances of new music. Her career was given a bump start by the eccentric older composer, Eric Satie. He was an influential voice in avant-garde circles, and his support opened a door to wider recognition. Tailleferre became part of a like-minded set of young composers, along with Francis Poulenc, Arthur Honegger, Darius Milhaud, Louis Durey and Georges Auric. Their energy and drive created exciting new outlets for performances of their music. It was a journalist, Henri Collet, who coined their eventual collective name "Les Six". While their artistic paths quickly diversified, the group remained friends for the rest of their lives. Tailleferre was a prolific composer, writing in all the genres from small scale chamber works to large scale works including cantatas, orchestral scores, ballets and operas. After enjoying considerable success, by the 1930s her prominence began to fade. There's some evidence to suggest that her two unhappy marriages, and the deprivations of living in occupied France, followed by a temporary exile in the States during the second world war all had an adverse impact on her career. Despite these setbacks, she continued to compose and would teach music almost to the very end of her life. She died in 1983 at the age of 91. Held back perhaps by her own retiring personality and historical views of a female composer, Tailleferre's music has been overshadowed by some of the other members of "Les Six". This week Kate Molleson brings Germaine Tailleferre's music firmly in to the limelight. She's joined in studio by two other Tailleferre enthusiasts, Barbara Kelly from the University of Leeds, and Caroline Potter, who's currently writing a book about Tailleferre. Music Featured: Deux valses Image for 8 instruments Jeux de plein air Quartet for Strings Romance in A major Le Marchand d'oiseaux Pas trop vite Piano Trio Ballade for piano and orchestra Chansons françaises, No 5 (excerpt) Chansons françaises (Nos 1, 2 & 5) Concerto No 1 for piano and orchestra Violin sonata No 1 (excerpt) Fandango La nouvelle Cythère (excerpts) Harp Concertino Chansons Françaises (Nos 3 & 4) Violin sonata No 1 (1st & 4th mvts) Partita for piano (excerpt) Chansons du folklore Sonata for Harp Concerto two pianos, chorus and orchestra La cantate du narcisse Larghetto Suite burlesque (1, Dolente) Ouverture trans. By John Paynter Il était un Petit Navire (arr for two pianos) Concertino for flute, piano and chamber orchestra (excerpts) Pancarte pour une porte d'entrée (song cycle) Sonate Champêtre for wind and piano Tu mi chamas Presented by Kate Molleson Produced by Johannah Smith for BBC Audio in Wales For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Germaine Tailleferre (1892-1983) https://www.bbc.co.uk/programmes/m001nw40 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Aquest juliol far

durée : 01:54:59 - Les Nuits de France Culture - par : Albane Penaranda - En 1973, France Culture proposait un hommage au philosophe chrétien Jacques Maritain (1882-1973) à travers lectures et précieux témoignages de ses amis proches. "Son beau visage saisissait quiconque le rencontrait" se souvient le médecin Robert Debré, qui fut l'ami de jeunesse de Jacques Maritain dans les années 1900-1905. "Long et mince, le front penché, je me souviens très bien de lui transportant des livres de Charles Peguy, dans une petite boutique-librairie située au 05 rue de la Sorbonne à Paris". Ce jeune homme ainsi évoqué par Robert Debré, fut reçu à l'agrégation de philosophie en 1905 à l'âge de 23 ans, et décida de se convertir au catholicisme deux ans plus tard, sous l'influence de l'écrivain Léon Bloy. Une démarche que cet idéaliste et chercheur de vérité entreprit de concert avec son épouse la philosophe Raïssa Maritain (née Raïssa Oumançoff). "Jacques Maritain était un homme d'une transparence, d'une pureté rarissime" Orchestrée par l'écrivain et éditeur Stanislas Fumet, cette émission , composée de lectures et d'entretiens, reconstitue les principales étapes de l'itinéraire intellectuel de Jacques Maritain, disparu le 28 avril 1973. Outre le témoignage vivant du professeur Debré, cet hommage radiophonique donne à entendre d'autres voix exceptionnelles : celle du Père jésuite Michel Riquet, du journaliste André Frossard, sans oublier celle de l'écrivain Julien Green, du compositeur Georges Auric ou du philosophe et indianiste Olivier Lacombe. Les matinées de France Culture - Un philosophe agent secret du Roi des Rois : Jacques Maritain (1ère diffusion : 17/07/1973 Par Stanislas Fumet Avec Robert Debré, Georges Cattaui, André Frossard, Michel Riquet, Olivier Lacombe, Georges Auric, Julien Green et Pierre Manent Archives INA/RADIO FRANCE Edition web: Sylvain Alzial

durée : 00:15:57 - Les Nuits de France Culture - par : Albane Penaranda - La compositrice Germaine Tailleferre se racontait en dix entretiens en 1975. Dans le quatrième volet, elle se souvient de sa rencontre avec Erik Satie, Maurice Ravel et de la constitution du Groupe des Six avec Darius Milhaud, Arthur Honegger, Georges Auric, Louis Durey et Francis Poulenc. - invités : Germaine Tailleferre Compositrice (1892-1983)

Min 5: EL FILTRO LUCHINI Después de lograr grandes cifras de taquilla en Alemania, Francia, Rusia o Australia, llega a las salas españolas la potente película de animación "Momias", creada en el estudio Core Animation que dirige en Guadalajara el aclamado Pedro Solís, que nos avanza en Estamos de Cine por qué es una apuesta familiar que merece mucho la pena. "Momias" está llamada a hacer muy buenos números también en España, pero no se librará de pasar por nuestro Filtro Luchini, en el que Alberto Luchini y Raquel Hernández deben analizar y puntuar también estrenos comerciales como las americanas "Missing" y "Till"; el drama familiar francés "Asuntos familiares"; la sanguinolenta y excesiva "Terrifier 2"; la española "Irati" y la irlandesa, y gran sorpresa cinéfila de la semana, "The Quite Girl", una apuesta emotiva y entrañable que ha cautivado a nuestros críticos de cabecera. Min 40: BSO 70 AÑOS DE VACACIONES EN ROMA Y para demostrar que en las mal llamadas semanas de transición se puede colar una gran cita con el cine clásico, Ángel Luque nos sorprende hoy con una maravillosa tarta musical de cumpleaños que llevaremos en vespa hasta el mismísimo corazón de Roma. La inolvidable película de William Wyler "Vacaciones en Roma" cumple 70 años y en Estamos de Cine queremos celebrarlo descorchando la preciosa banda sonora de Georges Auric y recordando algunas de las escenas más icónicas que protagonizaron Audrey Hepburn y Gregory Peck. Una excusa y una efeméride perfecta para seguir compartiendo nuestra pasión por el cine con las ondas de Radio CLM como testigo. Gracias por elegirnos. Feliz Escucha.

Synopsis We probably have the irrepressible playwright, music critic, and ardent socialist George Bernard Shaw to thank for this music—the Third Symphony of Sir Edward Elgar. Shaw had been trying to persuade Elgar to write a Third Symphony, and, early in 1932, had written to Elgar: "Why don't you make the BBC order a new symphony. It can afford it!" A few months later, Shaw dashed off a postcard with a detailed, albeit tongue-in-cheek program for the new work: "Why not a Financial Symphony? Allegro: Impending Disaster; Lento mesto: Stone Broke; Scherzo: Light Heart and Empty Pocket; Allegro con brio: Clouds Clearing." Well, there was a worldwide depression in 1932, but the depression that had prevented Elgar from tacking a new symphony was more personal: the death of his beloved wife in 1920. Despite describing himself as "a broken man," unable to tackle any major projects, when Elgar died in 1934, he left behind substantial sketches for a Third Symphony, commissioned, in fact, by the BBC. Fast forward 64 years, to February 15th, 1998, when the BBC Symphony gave the premiere performance of Elgar's Third at Royal Festival Hall in London, in a performing version, or "elaboration" of Elgar's surviving sketches, prepared by the contemporary British composer Anthony Payne. It was a tremendous success, and, we would like to think, somewhere in the hall the crusty spirit of George Bernard Shaw was heard to mutter: "Well—about time!" Music Played in Today's Program Edward Elgar (1857-1934) Symphony No. 3 (elaborated by Anthony Payne) BBC Symphony; Andrew Davis, conductor. NMC 053 On This Day Births 1571 - possible birth date of German composer Michael Praetorius, in Creuzberg an der Werra, near Eisenach; 1847 - Austrian composer Robert Fuchs, in Frauenthal, Styria; 1899 - French composer Georges Auric, in Lodève; 1907 - French composer and organist Jean Langlais, in La Fontenelle; 1947 - American composer John Adams, in Worcester, Mass.; 1949 - American composer Christopher Rouse, in Baltimore, Maryland; Deaths 1621 - German composer Michael Praetorius, supposedly on his 50th birthday, in Wolfenbüttel; 1857 - Russian composer Mikhail Glinka, age 52, in Berlin; 1887 - Russian composer Alexander Borodin (Gregorian date: Feb. 27); 1974 - Swedish composer Kurt Atterberg, age 86, in Stockholm; 1992 - American composer William Schuman, age 81 in New York; He won the first Pulitzer Prize for Music in 1943 for his Walt Whitman cantata, "A Free Song"; Premieres 1686 - Lully: opera "Armide et Renaud," (after Tasso) in Paris; 1845 - Verdi: opera "Giovanna D'Arco" (Joan of Arc) in Milan at the Teatro all Scala; 1868 - Tchaikovsky: Symphony No. 1 ("Winter Dreams") (first version), in Moscow (Julian date Feb. 3); A revised version of this symphony premiered in Moscow on Nov. 19/Dec. 1, 1883; 1874 - Bizet: "Patrie" Overture, in Paris, by the Concerts Pasedeoup; 1884 - Tchaikovsky: opera "Mazeppa" in Moscow at the Bolshoi Theater (Julian date: Feb. 3); 1919 - Loeffler: "Music for Four Stringed Instruments" at New York's Aeolina Hall by the Flonzaley Quartet; 1939 - Miakovsky: Symphony No. 19 for wind band, in Moscow; 1945 - Paul Creston: Symphony No. 2, by the New York Philharmonic, with Arthur Rodzinski conducting; 1947 - Korngold: Violin Concerto, by the St. Louis Symphony, with Jascha Heifetz as soloist; 1958 - Diamond: orchestral suite "The World of Paul Klee," in Portland, Ore.; 1965 - B.A. Zimmermann: opera "Die Soldaten" (The Soldiers), in Cologne at the Städtische Oper; Others 1940 - American Music Center, a library and information center for American composers, is founded in New York City. Links and Resources On Elgar

Monsters, spooky atmosphere, terrifying effects, but horror is also a genre exploring ideas about relationships, as Matthew Sweet explains with music for the romance of horror. The programme features cues from classic Hammer Horror by Harry Robertson alongside Wojciech Kilar's 'Bram's Stoker's Dracula'. Also in the programme is some of Roy Budd's score for 'Phantom Of the Opera', some of Maurice Jarre's score for 'Ghost', James Wong's 'A Chinese Ghost Story', Georges Auric's 'La Belle et la Bete', Alan Menken's 'Beauty and the Beast', Carter Burwell's 'Twilight' and Richard Wells' 'Being Human'. And Matthew meets Academy Award-winning composers Trent Reznor and Atticus Ross, who discuss their latest score for the new Luca Guadagnino film 'Bones And All'.

In the fourth episode of Season 7 (Fantastical Realities) Kyle is joined by screenwriter David Gutierrez and fellow podcaster Ben Thelen to discuss the personal ode to the cavernous creative mind of artists, poets, and writers in Jean Cocteau's experimental rumination on the paradoxes of life and death, the innate power of metaphor, and the division between dream and reality in The Blood of a Poet (1932).

El grupo de Los Seis, nombre dado en 1920 por el crítico Henri Collet, como analogía a los Cinco de Rusia. Este grupo de compositores estuvo conformado por Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc y Germaine Tailleferre. Los miembros del grupo se adhirieron a la vertiente antirromántica impulsada por Jean Cocteau, pero poco después emprendieron caminos distintos. Louis Durey, el militante político del grupo, quien falleció un 3 de julio de 1979, adoptó una postura de silencio casi completo en composición durante la ocupación para demostrar su rechazo a cooperar con el control nazi de Francia en la Segunda Guerra Mundial. Durey se negó a componer obras nuevas mientras los alemanes estuvieron en el poder, pero se volcó a coleccionar y a arreglar canciones. Durey también se unió a la organización de la resistencia francesa Front National des Musiciens y se convirtió en un miembro destacado. Allí trabajó para esconder judíos y para preservar la música francesa prohibida. Hoy escucharemos de este compositor, el primer movimiento de su Trio para Oboe Clarinete y Fagot interpretado por el Arundo-Donax Ensemble.

Résumé : John Huston a été un cinéaste prolifique. Plus de 40 films sur plus de quatre décennies. Ce passionné de chevaux et de peinture a toujours su garder sa liberté, même au prix de certaines compromissions. Boxeur amateur, trublion distingué, buveur invétéré, John Huston était une force de caractère, qui n'était pas du genre à s'en laisser conter. Si le cinéaste n'a pas réalisé que des chefs d'œuvre, il a signé plusieurs films rentrés dans l'histoire du cinéma : Le Faucon Maltais, Quand la ville dort, L'Homme qui voulut être roi, Les Désaxés, L'Honneur des Prizzi et Gens de Dublin, son œuvre ultime. À l'occasion de la sortie en DVD/Blu-Ray de Moulin Rouge et African Queen, édités par Studio Canal, Antoine Jullien vous raconte ces deux aventures cinématographiques majeures dans la carrière d'un réalisateur qui a toujours su être lucide face à la nature humaine. Musique : Bande originale du film Gens de Dublin composée par Alex North / Bande originale du film African Queen composée par Allan Grey / Bande originale du film Moulin Rouge composée par Georges Auric

This week's episode is a musical celebration of all things spring. As in all episodes of this sort, it features a wide range of singers in performances recorded over the course of many decades, all singing about the delights (and sometimes the heartbreak) of spring. Artists include Carmen McRae, Beniamino Gigli, Elisabeth Söderström, Helen Morgan, Leontyne Price, Judy Collins, Eartha Kitt, Emma Calvé, Eileen Farrell, Kaye Ballard, Gérard Souzay, Patricia Neway, and Edith Piaf, among many others, singing songs of Tommy Wolf, Fran Landesman, Georges Auric, Hugo Wolf, Lerner and Loewe, Dietrich Buxtehude, Alec Wilder, and Paolo Tosti. A vernal feast for the ears! The Countermelody podcast is devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

23 julio Nace: 1866: Francesco Cilea, compositor italiano (f. 1950). 1957: Theo van Gogh, cineasta neerlandés (f. 2004). Fallece: 1757: Domenico Scarlatti, compositor y clavecinista italiano (n. 1685). 1983: Georges Auric, compositor francés. 2001: Eudora Welty, escritora estadounidense. 2011: Amy Winehouse, cantante y compositora británica (n. 1983). 2012: Esther Tusquets, editora y escritora española. Una Producción de Sala Prisma Podcast. 2021

Take a commonplace, clean it and polish it, light it so that it produces the same effect of youth and freshness and originality and spontaneity as it did originally, and you have done a poet's job. The rest is literature.Jean Cocteau. The rest is literature.When Cocteau was a young boy he said he would be clever later. He said his father was a painter. Boys say a lot of things. His father was an amateur painter, a lawyer by trade. His father killed himself when Cocteau was nine.You are not what you do, after all. You are not your work, you are not your suicide. Poets only pretend to die. You are not even your art but your art is the greatest reflection of self. Awaken from the reverie of your orphic dream. The poet creates and never insists upon his poetry. He is a poet because what he makes sings with all of his soul.When the editors of Cahiers Du Cinema collectively disavowed the stagnant literary-leaning past and present of French cinema, they kept the Masters. Robert Bresson, Jeen Renoir, and Jeen Cocteau were anti-modernists making movies that would be new forever. The masters suited the artistic ethics of the Nouvelle Vauge. Cocteau then embodied the past, present, and future of the French cinema. The rest — as the Cahiers crew would insist — is literature.Children believe what we tell them. They have complete faith in us. They believe that a rose plucked from a garden can bring drama to a family. They believe that the hands of a human beast will smoke when he kills a victim, and that this beast will be shamed when confronted by a young girl. They believe in a thousand other simple things. I ask of you a little of this childlike simplicity, and to bring us luck let me speak four truly magic words, childhood's “open sesame":Once Upon a Time...The gem of today's triple feature, Beauty and the Beast (1946) is the pinnacle of fantasy storytelling in film. Marrying Cocteau's multi-hyphenate interests in the poetic and the balletic, the film achieves the beauty of a stage play with the heightened specificity of what it means to make a film.It provides an exceptional bridge to understanding his other work: his varied interests and grounding in ‘20s-era surrealism with a literary bent.Today, we draw back the curtain on a life lived in the arts and celebrate three pieces of a storied career of a real master craftsman.First, we venture into The Blood of a Poet — perhaps the first poem film to make headway with international success. Because it is first, it can disregard histories, examples, and rule books, and is permitted to tell its own story uniquely in the text. Cocteau wrote, “To sum up, The Blood of a Poet and my new film Beauty and the Beast are aimed at the aficionados. It is true that I do not kill the bull according to the rules. But this contempt for the rules is accompanied by a contempt for the danger that excites a large number of people.”Poetic art is creation with regard to space and feeling, moved by the dance of the human spirit, and unconcerned with the linearity of rules. “Poetry begins to atrophy when it gets too far from the music,” Ezra Pound said. Like the myth of Orpheus who could sooth all animals and nature with his poetry of music, the film is equally connected. It has no false symbols or ornamentation that does not add punctuation. It doesn't have to mean anything, it just is.Crucially, composer Georges Auric is involved, who would score 11 films for Cocteau. His score is a remnant of his avant-garde period and thus embodies and directs the film with its certainty of purpose. His later works would become more populist as he worked hard to square his work with leftist political beliefs that could reach audiences.Georges Auric's compositions are the fundamental through-line between the three distinctly different films.In Beauty and the Beast and The Eagle with Two Heads, Cocteau has likewise found a more connective populist style. While the films begin to subscribe to the director's own rule book and definitions without relying on the past, they use familiar constructions and foundations to wildly different ends.Both are wondrously shot. The camera glides. The black and white is silver in its glow. The steady beauty of it all is overwhelming, singular, well considered.And yet, with accessibility, Cocteau remains poetic. His films still move smoothly over uncovered terrain and define the fairytale and romantic stories in ways they have simply never been visualized.His astute gift for defining the image with his camera and getting the most out of untrained actors pays dividends. The poetry sings. The films move with singular beauty. Open sesame. Them movies are poems all right.Cocteau has done a poet's job. The rest is literature.

durée : 00:59:59 - Les Nuits de France Culture - Par Paule Chavasse - Avec Pierre Bertin, Marie Monnier-Bécat, Elise Jouhandeau, Jean Wiener, Denise Centore, Youki Desnos, Georges Auric, Henri Sauguet, Miguel Asturias et Louise Weiss - Réalisation Evelyne Frémy

durée : 01:04:59 - Les Nuits de France Culture - Par Paule Chavasse - Avec Adrienne Bolland, Georges Langelaan, André-Paul Antoine, Jean Wiener, Germaine Tailleferre, Denise Centore, Pierre Bertin, Georges Auric, Georges-Henri Rivière et Henri Sauguet - Réalisation Evelyne Frémy

durée : 01:05:00 - Les Nuits de France Culture - Par Paule Chavasse - Avec Pierre Bertin, Jean Wiener, Georges-Henri Rivière, Georges Auric, Darius Milhaud, Jean Cocteau, Denise Centaure, François Le Lionnais et Camille Guérin - Réalisation Evelyne Frémy

durée : 00:59:59 - Les Nuits de France Culture - Par Paule Chavasse - Avec André-Paul Antoine, Miguel Asturias, Georges Auric, le commissaire Belin, Jacques Benoist-Méchin, Pierre Bertin, Francis Blanche, Adrienne Bolland, Denise Centore, James de Coquet, Marcel Jouhandeau, Georges Langelaan, François Le Lionnais, Claude Mettra, Darius Milhaud, Marie Monnier-Bécat, Charles de Noailles, Georges-Henri Rivière, Madeleine Sabine, Henri Sauguet, Germaine Tailleferre, Louise Weiss et Jean Wiener - Avec les voix d'Edouard Belin, Jean Cocteau, Youki Desnos, Camille Guérin, Elise Jouhandeau, Marie Laurencin et Francis Poulenc - Réalisation Evelyne Frémy

Critique musical dès l'âge de 14 ans, compositeur pour les Ballets Russes de Diaghilev, Georges Auric a aussi été un compositeur de nombreuses musiques de films – notamment pour son ami Jean Cocteau –, mais encore président de la Sacem de 1954 à 1978. Malgré des collaborations prestigieuses, un catalogue d'œuvres immense et de grandes … Continuer la lecture de « Metaclassique #152 – Vadrouiller »

durée : 02:14:59 - Les Nuits de France Culture - par : Philippe Garbit - Par Henri Jeanson - Avec en archive, la voix de Louis Jouvet - Avec les témoignages de Paul Abram (homme de lettres, directeur de théâtre), Georges Auric (compositeur), André Beucler (écrivain), Dominique Blanchar (comédienne), Pierre Bost (écrivain, scénariste), Julien Carette (comédien), Léon Chancerel (comédien, metteur en scène), Camille Demangeat (décorateur, scénographe), Béatrix Dussane (comédienne), Gabrielle Fontan (comédienne), Marcel Karsenty (directeur de théâtre, producteur de tournées), Gérard de Lacaze-Duthiers (homme de lettres), Léo Lapara (comédien), René Lefèvre (comédien), Élie Lescot (homme politique, Président de la République d'Haïti), Émile Mazaud (dramaturge, nouvelliste), Raymone (comédienne), Jean Renoir (cinéaste), Jean Sarment (comédienne, journaliste, écrivain), Henri Sauguet (compositeur), Pierre Scize (journaliste) et Bernard Zimmer (écrivain de théâtre, scénariste, dialoguiste) - Réalisation Albert Riéra

durée : 02:14:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Henri Jeanson - Avec en archive, la voix de Louis Jouvet - Avec les témoignages de Paul Abram (homme de lettres, directeur de théâtre), Georges Auric (compositeur), André Beucler (écrivain), Dominique Blanchar (comédienne), Pierre Bost (écrivain, scénariste), Julien Carette (comédien), Léon Chancerel (comédien, metteur en scène), Camille Demangeat (décorateur, scénographe), Béatrix Dussane (comédienne), Gabrielle Fontan (comédienne), Marcel Karsenty (directeur de théâtre, producteur de tournées), Gérard de Lacaze-Duthiers (homme de lettres), Léo Lapara (comédien), René Lefèvre (comédien), Élie Lescot (homme politique, Président de la République d'Haïti), Émile Mazaud (dramaturge, nouvelliste), Raymone (comédienne), Jean Renoir (cinéaste), Jean Sarment (comédienne, journaliste, écrivain), Henri Sauguet (compositeur), Pierre Scize (journaliste) et Bernard Zimmer (écrivain de théâtre, scénariste, dialoguiste) - Réalisation Albert Riéra - réalisation : Virginie Mourthé

Le Groupe des Six ? Voilà les musiciens qui ont occupé le devant de la scène artistique parisienne dans l'immédiat après-Première Guerre mondiale. Parrainés par Erik Satie et soutenus par Jean Cocteau, à la fois leur imprésario et leur éminence grise, les Six furent les porte-drapeaux de l'Esprit Nouveau qui soufflait alors sur Paris. Voix intermittentes du néoclassicisme hexagonal pour les uns, simples farceurs embobinant dans leurs canulars un public crédule et une critique complaisante pour les autres, ils ont marqué comme peu cette période d'effervescence, où tout semblait possible. Les Six, donc : Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc et Germaine Tailleferre.

Thomas Dolby [00:45] "Urges" The Golden Age of Wireless Harvest ST-12203 1982 First released on Harvest. Urges was purged on the second release. This track features percussion by Andy Partridge. Thomas Dolby [04:25] "One of Our Submarines" The Golden Age of Wireless Capitol Records ST-12271 1983 This re-release removed "Urges" and "Leipzig", and adds this track as well as "She Blinded Me with Science". "One of Our Submarines" is about Dolby's uncle who was a crewman on a British submarine sunk off the coast of Tunisia in WWII. The Drifters [09:34] "Up on the Roof" Golden Hits Atlantic SD 8153 1968 The Goffin and King number that made it number 5 on the charts in 1963. Billy Vaughan and his Orchestra [12:08] "Tequila" Golden Hits Dot Records DLP 25201 1959 Music to dance on bars by. Jay Dodds [15:39] "Thanks for the Memory" Golden Organ Hits Diplomat Records DS2368 1964 I think that memory may be an acid flashback. Shannon and the Clams [18:18] "Rip Van Winkle" Dreams in the Rat House Hardly Art HAR-069 2013 Solid fun from Shannon, Cody, and Ian. Julie Conway and The Bob Prince Quartet [20:29] "Domino" Good Housekeeping's Plan for Reducing Harmony HS 11295 1968 I'll be honest, I was hoping the backing track for this exercise would be Roy Orbison's Domino. Georges Auric [21:41] "Aimez-Vous Cha Cha" Goodbye Again United Artists UAL 4091 1961 I'll admit this was a new one by me, but evidently a well-received film by Anatole Litvak (Sorry, Wrong Number) featuring Yves Montand, Ingrid Bergman, and Anthony Perkins. I'll have to check it out. Elton John [25:49] "Goodbye Yellow Brick Road" Goodbye Yellow Brick Road MCA Records MCA2-10003 1973 Title track from the multi-platinum album that made it to number 2 on the Hot 100. Matthew Sweet [29:04] "Girlfriend" Goodfriend Legacy 88875194311 2016 A Record Store Day release from a few years ago. This is a BBC studio take on the hit single from Girlfriend. The cover is done in the style of Neil Young's Zuma, likely oweing to the version of Cortez the Killer on this album. Ohio Express [31:56] "Yummy Yummy Yummy" Goofy Greats K-Tel NU 9030 1975 This K-Tel record looms large in my childhood. And probably goes a long way to explaining my bubblegum pop predilections. The Rolling Stones [34:20] "Fortune Teller" Got Live If You Want It! Decca 6835 128 1966 Yes indeed, the Allen Toussaint classic unfortunately overdubbed with screaming fans. Paul Simon [37:51] "You Can Call Me Al" Graceland Warner Bros. Records 1-25447 1986 What? It just seemed like the track to choose. Simon & Garfunkel [42:31] "The Big Bright Green Pleasure Machine" The Graduate Columbia Masterworks OS 3180 1968 Great film, great track. Paddy Noonan and his Grand Band [44:14] "Boys from the County Armagh" A Grand Irish Party LSS Tifton International TS 60 1967 I hear Ireland is lovely. Frankie Avalon [46:56] "Beauty School Drop-Out" Grease RSO RS-2-4002 1978 Hooker?! Good heavens! Poor Frenchy. Music behind the DJ: "The Singleman Family Foxtrot" by David Grusin

Rise from your graves, ghoulies! October's here and it's time to spin some records and shake that dirt off your bones! ☠ Excerpt from “Winchell’s Donut House Halloween Record” ☠ Oscar & The Majestics- Haunted House ☠ Pierre Raph, “La rose de fer” OST- Génèrique ☠ Spero E I Crazy Rock Boys- Muchela Dracula ☠ “The Haunted Strangler” advertisement ☠ Jack Turner- Nightmare ☠ Bryan “Legs” Walker- Trick or Treat ☠ Excerpt from “The Evil Dead” ☠ “We Are the Boogeymen” from Disney’s “Lullaby Land” ☠ The Munsters- Munster Creep ☠ Harry Sukman, “Salem’s Lot” OST- Main Title ☠ The Wonderland Singers- There Is a Haunted House in Town ☠ Cathy Mills- Monster Hop ☠ Excerpt from “The Return of the Living Dead” ☠ The Essex- Cemetery Stomp ☠ Prince’s Band- Spooky Spooks ☠ The Detergents- Igor’s Cellar ☠ The Higher Elevation- Boogie Man ☠ “The Teenage Psycho Meets Bloody Mary” radio spot ☠ Red Foley- Tennessee Hillbilly Ghost ☠ Teddy Durant- The Night Stalker ☠ Howard Shore, “Videodrome” OST- Long Live the New Flesh ☠ Wade Denning & Frank Daniels- The Headless Horseman ☠ Clyde Scott with the Zanyopolis A.U. Students- Gravedigger Rock ☠ Bobby “Boris” Pickett & The Crypt Kickers- Skully Gully ☠ Vince Guaraldi, “It’s the Great Pumpkin, Charlie Brown” OST- Graveyard Theme ☠ Bill Doggett- Monster Party ☠ John Zacherle- Halloween Hootenany ☠ Georges Auric, “The Innocents” OST- O Willow Waly

Featuring special guest and heist film aficionado Matt Clark (@TheMplsMatt)! This Ealing train keeps a-rolling with another comedy of errors! Alec Guinness (again?) is Dutch, a bean-counter who’s protected government gold for 20 years, quietly plotting ways to rip them off in a big way. His plan accelerates beyond sustainability when he meets Al, an artist-turned-tchotchke maker with dreams of pursuing his passion instead of stuffing tourists’ suitcases. What separates THE LAVENDER HILL MOB from the other films we’ve covered is its willingness to show us the solidarity shared between two (and then among four) criminals aspiring toward a better life – together – despite class objections. Follow Matt on Twitter at @themplsmatt and Letterboxd at letterboxd.com/mplsmatt/ ! Follow us at @trylovepodcast on Twitter and email us at trylovepodcast@gmail.com to get in touch! Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: “The Lavender Hill Mob theme” from the eponymous film by Georges Auric.

Featuring special guest and Hollywood film star Jason Statham! Jason Statham (UK actor, former model, husband of Rosie Huntington-Whitely, and star of the later films in CRANK (2006), SNATCH (2000), THE TRANSPORTER (2002), the blockbuster Fast & Furious franchise), and more joins us to talk, appropriately, about a deeply British film! Without a stronger commitment to its premise (a Central London neighborhood grapples with its sudden independence from the British government that landlocks it), PASSPORT TO PIMLICO takes its central conceit a little too lightly to be a truly interesting critique, so in the absence of a grander message, we started to read a lot into it instead. Follow us at @trylovepodcast on Twitter and email us at trylovepodcast@gmail.com to get in touch! Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Closing music: "Passport to Pimlico” credits music from the eponymous film by Georges Auric.

durée : 01:16:12 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Henri Spade - Avec Robert Lamoureux, Georges Auric, Louis Ducreux et Charles Trenet - réalisation : Virginie Mourthé

For the first of my Black History Month episodes back in February, I did a program featuring the extraordinary artist Muriel Smith, who in 1943, while still a student at the Curtis Institute in Philadelphia, created the title role in Oscar Hammerstein II’s Carmen Jones, which used George Bizet’s opera as the springboard for a hybrid musical featuring an all-Black cast. After several other Broadway appearances (including in a revival of Marc Blitzstein’s The Cradle Will Rock, Muriel Smith moved to London, where she was featured in the “exotic” roles in the London premieres Rodgers and Hammerstein’s South Pacific and The King and I. For several years she was the toast of London, appearing on records, on radio, on television, and in concert, as well as singing Bizet’s gypsy in performances of Carmen at Covent Garden in 1957. Most of the currently extant examples of Smith’s singing are of popular music, which she performed with her unique blend of bel canto precision and pinpoint interpretive accuracy. I have recently gotten my hands on numerous rare 78s of Smith’s mid-1950’s pop records, as well as her 1953 EP, I’m in the Mood for Love, all of which are featured on this episode. I also share examples of her famous turns in musicals, capped with a rare recording of her singing Hugo Wolf’s “Nimmersatte Liebe.” Two excerpts from her 1955 Songs of Christmas 45 render this episode a veritable Christmas in July celebration! Musical guest stars include, among others, Marc Blitzstein, Georges Auric, Harvey Fuqua, Auyar Hosseini, Franz Waxman, Luther Saxon, Martin and Blane, Julian Bream, and the extraordinary Angela Morley. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford.

durée : 01:59:30 - Auric, Scarlatti, Cilea, Graham, Pires, Lefèvre ... - par : François-Xavier Szymczak - Dans l' Eté classique matinal toute cette semaine, François-Xavier Szymczak s'appuiera chaque jour sur des dates anniversaires de naissance et de décès... ce matin, hommage à Georges Auric, Domenico Scarlatti, Francesco Cilea, Susan Graham, Maria Joao Pires, Alain Lefèvre et Goetz von Berlichingen. - réalisé par : Benjamin Hû

durée : 01:45:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Lucienne Astruc, Maurice Leroux, Olivier Messiaen, Arthur Rubinstein, André Jolivet, Serge Lifar, Lorin Maazel, Georges Auric, Liane Daydé, Ossip Zadkine, Jacques Hébertot, Jean Wiener, Jean Cocteau, Pierre Bertin, Henri Sauguet, Pierre Schaeffer, Robert Bronstein, Samson François, Roland Charmy, Lily Laskine, Pierre Dervaux, Salvador Dali, Serge Golovine, Olga Adabache, Rosella Hightower, Andres Segovia, Manuel Rosenthal, Désiré-Emile Inghelbrecht, Jean Robin, Zizi Jeanmaire, Leslie Caron, Brassaï, Yvette Chauviré, Jean Jouve, Pierre-Henri Dutilleux, Antal Dorati, Henry Barraud, Georges Prêtre, Rosanna Carteri, Maurice Chevalier, François Mauriac, Grégory Chmara et Cléopâtre Bourdelle-Sevastos - réalisation : Virginie Mourthé

durée : 00:45:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Jean Wiener, Jacques Hébertot, Serge Lifar, Salvador Dali, Henri Sauguet, Serge Golovine, Rosella Hightower, Jacques Bazire, Jean Robin, Georges Auric, Henri Dutilleux, Leslie Caron, Janine Alexandre-Debray, Grégory Chmara, Liane Daydé et Brassaï - réalisation : Virginie Mourthé

durée : 00:44:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Lucienne Astruc, Georges Auric, Henry Barraud, Pierre Bertin, Gabriel Bouillon, Jean Cocteau, Marie Dormoy, Jacques Hébertot, Désiré-Emile Inghelbrecht, Serge Lifar, Henri Sauguet, Ossip Zadkine et Claude Rostand - réalisation : Virginie Mourthé

durée : 01:54:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Stanislas Fumet - Avec Robert Debré, Georges Cattaui, André Frossard, Michel Riquet, Olivier Lacombe, Georges Auric, Julien Green et Pierre Manent - réalisation : Virginie Mourthé

Dans ce deuxième volet de Rétropolis consacré à Louis de Funès, retour sur la partie de carrière la plus populaire de l'acteur, de Pouic-Pouic à La Folie des Grandeurs, en passant par Les Gendarmes et Fantômas. De belles et joyeuses compositions par quelques-uns de nos plus grands compositeurs, Michel Magne, Vladimir Cosma ou encore Georges Auric. Dans cette émission, vous entendrez : 1. Générique - Pouic Pouic [Jean-Michel Defaye] 2. Marche des gendarmes - Le Gendarme à Saint-Tropez [Raymond Lefebvre] 3. Fandor au cimetière - Fantômas [Michel Magne] 4. Fandor se déchaîne - Fantômas se déchaîne [Michel Magne] 5. Rendez-vous au Guignol - La Grande Vadrouille [Georges Auric] 6. Générique - Le Tatoué [Georges Garvarentz] 7. Répétition - L'homme orchestre [François de Roubaix] 8. Générique - Jo [Raymond Lefebvre] 9. La Fuite de Blaze - La Folie des Grandeurs [Michel Polnareff] 10. Concerto Gastronomique - L'aile ou la cuisse [Vladimir Cosma] 11. Flamenco Blaze - La Folie des Grandeurs [Michel Polnareff]

Rubrikoje „Dabar prieš 100 metų“ – 1920-aisias vardą gavęs legendinis prancūzų kompozitorių judėjimas „Les Six“, arba „Šešetas“, paveiktas Eriko Satie ir Jeano Cocteau bei tapęs viena Prancūzijos muzikos vizitinių kortelių. Kas ir kodėl skatino Dariusą Milhaud, Georgesą Auricą, Louisą Durey, Arthurą Honeggerą, Francisą Poulencą, vienintelę moterį Germaine Tailleferre ieškoti naujos muzikinės kalbos? Rubrikoje „O tuo metu kitoje pasaulio pusėje“ – Korėjos vienytojas Isangas Yunas. Išgyvenęs karą, kalintas, persikraustęs gyventi į Vokietiją, pagrobtas, vėl kalintas, flirtavęs su Kim Ir Senu, o galiausiai paskyręs savo gyvenimą Korėjos suvienijimo idėjai. Kodėl orkestrai nenori imtis šio kompozitoriaus simfonijų? Atsakymai - „Kitame laike“.Ved. Domantas Razauskas.

durée : 01:30:05 - Didier Barbelivien - par : Benoît Duteurtre - "Un des Maîtres de la chanson française, auteur de tubes que nous avons tous fredonné, Didier Barbelivien publie un livre de souvenirs et revient sur son adolescence parisienne, ses premières chansons, son amour de la littérature, ses rencontres Aznavour, Ferré, Georges Auric..." Benoît Duteurtre - réalisé par : Christine Amado

Live uit de bar van Splendor in Amsterdam, waar vanavond Emily Beynon (solofluitiste Concertgebouworkest) het eerste van een reeks concerten presenteert met muziek van rond de Tweede Wereldoorlog. Opbrengst van de avond gaat naar Musicians Without Borders. Met muziek van Germaine Tailleferre, Georges Auric, Carl Frühling, Hanns Eisler en Tobias Klein.

Wednesday 20 November Alexandra Coghlan (Host) Glen Sheppard (ENO Staff Director) Richard Pierson (ENO Music Staff) James Williams (Professor of Modern French Cinema, Royal Holloway) Please note that the composer for Cocteau's original film is Georges Auric, not 'Duric'.

durée : 01:45:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Lucienne Astruc, Maurice Leroux, Olivier Messiaen, Arthur Rubinstein, André Jolivet, Serge Lifar, Lorin Maazel, Georges Auric, Liane Daydé, Ossip Zadkine, Jacques Hébertot, Jean Wiener, Jean Cocteau, Pierre Bertin, Henri Sauguet, Pierre Schaeffer, Robert Bronstein, Samson François, Roland Charmy, Lily Laskine, Pierre Dervaux, Salvador Dali, Serge Golovine, Olga Adabache, Rosella Hightower, Andres Segovia, Manuel Rosenthal, Désiré-Emile Inghelbrecht, Jean Robin, Zizi Jeanmaire, Leslie Caron, Brassaï, Yvette Chauviré, Jean Jouve, Pierre-Henri Dutilleux, Antal Dorati, Henry Barraud, Georges Prêtre, Rosanna Carteri, Maurice Chevalier, François Mauriac, Grégory Chmara et Cléopâtre Bourdelle-Sevastos - réalisation : Virginie Mourthé

durée : 00:45:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Jean Wiener, Jacques Hébertot, Serge Lifar, Salvador Dali, Henri Sauguet, Serge Golovine, Rosella Hightower, Jacques Bazire, Jean Robin, Georges Auric, Henri Dutilleux, Leslie Caron, Janine Alexandre-Debray, Grégory Chmara, Liane Daydé et Brassaï - réalisation : Virginie Mourthé

durée : 00:44:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Lucienne Astruc, Georges Auric, Henry Barraud, Pierre Bertin, Gabriel Bouillon, Jean Cocteau, Marie Dormoy, Jacques Hébertot, Désiré-Emile Inghelbrecht, Serge Lifar, Henri Sauguet, Ossip Zadkine et Claude Rostand - réalisation : Virginie Mourthé

Helilooja 120. sünniaastapäeval ilmunud albumil kõlab süit kuuest kaunist kujutelmast erinevatele kammerkoosseisudele.

Helilooja 120. sünniaastapäeval ilmunud albumil kõlab süit kuuest kaunist kujutelmast erinevatele kammerkoosseisudele.

Tres premios Oscar en su haber (La Señora Miniver, Los mejores años de nuestra vida, Ben-Hur) y un sinfín de obras maestras como Jezabel, La loba, El coleccionista, La heredera, Horizontes de grandeza o Vacaciones en Roma. Hablo del realizador William Wyler, y en el programa se dan cita compositores como Georges Auric, John Williams, Max Steiner, Miklós Rózsa o Hugo Friedhofer. Las bandas sonoras incluidas son: Jezabel, La carta, Cumbres borrascosas, La Señora Miniver, Los mejores años de nuestra vida, La heredera, Vacaciones en Roma, La gran prueba, Horizontes de grandeza, Ben-Hur, La calumnia, El coleccionista, Cómo robar un millón y..., Funny Girl, No se compra el silencio.

Tres premios Oscar en su haber (La Señora Miniver, Los mejores años de nuestra vida, Ben-Hur) y un sinfín de obras maestras como Jezabel, La loba, El coleccionista, La heredera, Horizontes de grandeza o Vacaciones en Roma. Hablo del realizador William Wyler, y en el programa se dan cita compositores como Georges Auric, John Williams, Max Steiner, Miklós Rózsa o Hugo Friedhofer. Las bandas sonoras incluidas son: Jezabel, La carta, Cumbres borrascosas, La Señora Miniver, Los mejores años de nuestra vida, La heredera, Vacaciones en Roma, La gran prueba, Horizontes de grandeza, Ben-Hur, La calumnia, El coleccionista, Cómo robar un millón y..., Funny Girl, No se compra el silencio.

Roxann Dawson's new film "Breakthrough", with a score by Marcelo Zarvos, is the featured new release and puts Matthew in mind of films that explore the mysterious realm between life and death. The programme features music from Danny Elfman, John Williams, Joseph Bishara, Alexandre Desplat, Michael Giacchino, Hans Zimmer, Maurice Jarre, Delia Derbyshire, Georges Auric, James Newton Howard and Nick Glennie-Smith. The Classic Score of the Week is John Corigliano's music for the 1980 Ken Russell film, 'Altered States'.

Matthew Sweet is live at London's South Bank Centre celebrating film music from the year 1946 - when the Hays Code determined the coulds and the could nots; when Noir was at its height; when UK cinema going was at its peak. The films and music featured in the programme include Alfred Hitchcock's "Notorious" with a score by Roy Webb, Miklos Rozsa's "The Killers", Max Steiner and "The Big Sleep", Dimitri Tiomkin and "Duel In The Sun", Georges Auric's music for Jean Cocteau's "Beauty And The Beast", Allan Gray and "A Matter Of Life And Death, Alan Rawsthorne and "The Captive Hearth", John Ireland's "The Overlanders", Mischa Spoliansky's "Wanted For Murder" and Hugo Friedhofer's "The Best Years Of Our Lives".

Movie Meltdown - Episode 364 This week we are coming to you "live" from Days of the Dead: Louisville, where we are joined once again by our special guest co-host Doug Bradley, as we discuss this week's Sofa Theater feature - The Innocents. This 1961 Gothic horror film stars Deborah Kerr, Martin Stephens, Megs Jenkins and happens to be one of Doug's favorite films. Join us as we discern just how much influence writer Truman Capote had on the movie as well as trying to decide... are these murderous children or are there actual ghosts in the house or is it all just the visions of a madwoman? Listen and come to your own conclusion. And as we divvy up the vegan cupcakes, we also mention... rewatching Stranger Things, H. P. Lovecraft, tea adverts, innocence destroys innocence, Megs Jenkins, The Turn of the Screw, sexual repression, deep focus, the great foil throughout, an X certificate, one step away from dying, I just throw some candy towards them, Georges Auric, that creepy song, turning down movie roles, a southern Gothic, Ron Perlman and Sir Christopher Plummer, a very dubious uncertain moral tone, a red herring, Martin Stephens, weird and disconnected, psycho sexual fantasy, Freddie Francis, a synthesized electronic sound, Martin Scorsese, a real tear, everything needs a little more placenta, the roses, I won't be your friend, how Freudian do you want to get?, the Redgrave clan, it's a vicious cycle of beauty and love, Mary-Kate and Ashley and the fate of Rupert. Spoiler Alert: Full spoilers (and lots of speculation) for Jack Clayton's The Innocents, so go watch it before you listen. You have been warned! "I was all about ghosts... when I was a kid." For more on Days of the Dead and their upcoming dates, go to: http://www.daysofthedead.net/ Doug doesn't want to be your friend, but you can see his posts on his Facebook fan page: https://www.facebook.com/Doug-Bradley-316982560441/?fref=ts

Les Salauds is dubbel deprimerend: het is niet bepaald optimistisch over de mensheid én laat ons ook nog met raadsels achter. Maar hoe kwalijk is dat? En wat doen de MovieInsiders als er een nieuwe filmversie van La Belle et la Bête verschijnt? Juist, hem overslaan en de klassieker uit 1946 bespreken. De top 5 eert ditmaal de Franse cinema. 00:00 Introductie 02:02 Recensie: Les Salauds 17:55 Filmsong: Tindersticks - Put Your Love in Me (uit Les Salauds) 20:50 Jee of Nee 22:25 Klassieker: La Belle et la Bête (1946) 35:01 Filmmuziek: La Belle et la Bête (componist Georges Auric) 37:35 Top 5: Franse films sinds 1980 63:22 Vooruitblik en Filmmuziek: Un Long Dimanche de Fiancailles (componist Angelo Badalamenti)

Segunda parte del especial dedicado a la Historia de la Música de Cine, en esta ocasión centrado en la gloriosa década de los años 40. En el programa se hace un recorrido por las grandes figuras del cine norteamericano y europeo, entre las que se encuentran Franz Waxman, Alfred Newman, David Raksin, Dimitri Tiomkin, Dimitri Shostakovich, Brian Easdale, Georges Auric, Joaquín Turina y Manuel Parada.

Segunda parte del especial dedicado a la Historia de la Música de Cine, en esta ocasión centrado en la gloriosa década de los años 40. En el programa se hace un recorrido por las grandes figuras del cine norteamericano y europeo, entre las que se encuentran Franz Waxman, Alfred Newman, David Raksin, Dimitri Tiomkin, Dimitri Shostakovich, Brian Easdale, Georges Auric, Joaquín Turina y Manuel Parada.

“Don’t be frightened. It was only the wind, my dear." Thus far, our series to celebrate Halloween — the Naughty Children series — hasn’t really been that scary. “The Bad Seed” is labeled a crime/drama/horror but comes across a bit more as a comedy now with the over-the-top performances. “Village of the Damned” is labeled a horror/mystery/sci-fi but doesn’t have much in the way of horror. This week’s film, Jack Clayton’s 1961 film “The Innocents,” really feels like the first in the series that’s got real scares in it, and scares that still hold up today. Martin Scorsese even put it on his list of 11 most scary films. And a lot of that is because of the atmosphere Clayton and his screenwriters (mostly Truman Capote) created with this adaptation of Henry James’ “The Turn of the Screw.” Join us — Pete Wright and Andy Nelson — as we continue our Naughty Children series with “The Innocents.” We talk about how much each like this film — Andy as the veteran of the film and Pete as the newbie — any why it works so well. We chat about Deborah Kerr in a role that exemplifies the ambiguity in the story and how it works so well in context of the decaying nature Capote riddled throughout the screenplay. We talk about Jim Clark’s editing and Freddie Francis’ cinematography, as well as Georges Auric’s score, noting how well they each work to add to the atmosphere in this film. And we marvel at Martin Stephens’ performance here, vastly different (and superior) to his performance in “Village of the Damned.” It’s a brilliant film that we’re thrilled to add to our list, so check it out and then tune in! Film Sundries Original theatrical trailer Original Material Flickchart Trailers of the Week Andy’s Trailer: He Never Died — “Damn. This looks wickedly funny. And violent. And fun. Henry Rollins as the Biblical Cain? Sure, give me some." Pete’s Trailer: The Boy — “I’m not usually one for the horror, but this one cracks me up. Lauren Cohan is a treat to watch coming off of Walking Dead and though I forgot to mention it on the show, Stacey Miner’s screenplay looks great coming off his Black List entry Mixtape, also announced for production, and a really interesting read."

“Don't be frightened. It was only the wind, my dear." Thus far, our series to celebrate Halloween — the Naughty Children series — hasn't really been that scary. “The Bad Seed” is labeled a crime/drama/horror but comes across a bit more as a comedy now with the over-the-top performances. “Village of the Damned” is labeled a horror/mystery/sci-fi but doesn't have much in the way of horror. This week's film, Jack Clayton's 1961 film “The Innocents,” really feels like the first in the series that's got real scares in it, and scares that still hold up today. Martin Scorsese even put it on his list of 11 most scary films. And a lot of that is because of the atmosphere Clayton and his screenwriters (mostly Truman Capote) created with this adaptation of Henry James' “The Turn of the Screw.” Join us — Pete Wright and Andy Nelson — as we continue our Naughty Children series with “The Innocents.” We talk about how much each like this film — Andy as the veteran of the film and Pete as the newbie — any why it works so well. We chat about Deborah Kerr in a role that exemplifies the ambiguity in the story and how it works so well in context of the decaying nature Capote riddled throughout the screenplay. We talk about Jim Clark's editing and Freddie Francis' cinematography, as well as Georges Auric's score, noting how well they each work to add to the atmosphere in this film. And we marvel at Martin Stephens' performance here, vastly different (and superior) to his performance in “Village of the Damned.” It's a brilliant film that we're thrilled to add to our list, so check it out and then tune in! Film Sundries Original theatrical trailer Original Material Flickchart Trailers of the Week Andy's Trailer: He Never Died — “Damn. This looks wickedly funny. And violent. And fun. Henry Rollins as the Biblical Cain? Sure, give me some." Pete's Trailer: The Boy — “I'm not usually one for the horror, but this one cracks me up. Lauren Cohan is a treat to watch coming off of Walking Dead and though I forgot to mention it on the show, Stacey Miner's screenplay looks great coming off his Black List entry Mixtape, also announced for production, and a really interesting read."

Thus far, our series to celebrate Halloween — the Naughty Children series — hasn't really been that scary. “The Bad Seed” is labeled a crime/drama/horror but comes across a bit more as a comedy now with the over-the-top performances. “Village of the Damned” is labeled a horror/mystery/sci-fi but doesn't have much in the way of horror. This week's film, Jack Clayton's 1961 film “The Innocents,” really feels like the first in the series that's got real scares in it, and scares that still hold up today. Martin Scorsese even put it on his list of 11 most scary films. And a lot of that is because of the atmosphere Clayton and his screenwriters (mostly Truman Capote) created with this adaptation of Henry James' “The Turn of the Screw.” Join us — Pete Wright and Andy Nelson — as we continue our Naughty Children series with “The Innocents.” We talk about how much each like this film — Andy as the veteran of the film and Pete as the newbie — any why it works so well. We chat about Deborah Kerr in a role that exemplifies the ambiguity in the story and how it works so well in context of the decaying nature Capote riddled throughout the screenplay. We talk about Jim Clark's editing and Freddie Francis' cinematography, as well as Georges Auric's score, noting how well they each work to add to the atmosphere in this film. And we marvel at Martin Stephens' performance here, vastly different (and superior) to his performance in “Village of the Damned.” It's a brilliant film that we're thrilled to add to our list, so check it out and then tune in!

Thus far, our series to celebrate Halloween — the Naughty Children series — hasn't really been that scary. “The Bad Seed” is labeled a crime/drama/horror but comes across a bit more as a comedy now with the over-the-top performances. “Village of the Damned” is labeled a horror/mystery/sci-fi but doesn't have much in the way of horror. This week's film, Jack Clayton's 1961 film “The Innocents,” really feels like the first in the series that's got real scares in it, and scares that still hold up today. Martin Scorsese even put it on his list of 11 most scary films. And a lot of that is because of the atmosphere Clayton and his screenwriters (mostly Truman Capote) created with this adaptation of Henry James' “The Turn of the Screw.” Join us — Pete Wright and Andy Nelson — as we continue our Naughty Children series with “The Innocents.” We talk about how much each like this film — Andy as the veteran of the film and Pete as the newbie — any why it works so well. We chat about Deborah Kerr in a role that exemplifies the ambiguity in the story and how it works so well in context of the decaying nature Capote riddled throughout the screenplay. We talk about Jim Clark's editing and Freddie Francis' cinematography, as well as Georges Auric's score, noting how well they each work to add to the atmosphere in this film. And we marvel at Martin Stephens' performance here, vastly different (and superior) to his performance in “Village of the Damned.” It's a brilliant film that we're thrilled to add to our list, so check it out and then tune in!

Matthew Sweet turns his attention to the celebrated Ealing Comedies from 1947-57 and the composers who wrote the music for them, including Georges Auric, Benjamin Frankel, Tristram Cary and Ernest Irving.

Matthew Sweet with music for films recalling the world's great artists in the week that sees the UK theatrical release of the second part of Peter Greenaway's "Dutch Masters Trilogy". The programme includes music by Michael Nyman; Georges Auric; Elliot Goldenthal; Alexandre Desplat; Gabriel Yared; Nicholas Ward-Jackson; Jeff Beal; Frank Cordell and Krishna Levi. Films: "Lust for Life"; The Draughtsman's Contract"; "Moulin Rouge"; "Frida"; "Girl With A Pearl Earring"; "Camille Claudel"; "Caravaggio 1610"; "Pollock" and "The Rebel". The Classic Score of the week is Alex North's "The Agony and the Ecstasy".

Matthew Sweet introduces a selection of film music inspired by 19th-century women alongside this week's featured new release, "The Invisible Woman" - about Charles Dickens's relationship with the actress Nelly Ternan. The programme features an interview with the composer , Ilan Eshkeri, and looks back at some of his past work, including "Stardust", "Coriolanus" and "The Ring of the Nibelungs". Other featured sound tracks include music by Carl Davis, Miklos Rozsa, Elmer Bernstein, Bryan Byrne and Georges Auric. Matthew's Classic Film Score of the Week is Richard Rodney Bennett's "Far From The Madding Crowd". #soundofcinema.

A Landmark edition recorded in front of an audience at the British Film Institute as part of the Sound of Cinema season: Matthew Sweet is joined by the film's stars Peter Wyngarde and Clytie Jessop, psychoanalyst Susie Orbach, writer and critic Christopher Frayling and stage and screenwriter Jeremy Dyson to examine the British horror classic The Innocents. They explore how the combination of cinematography, the script of William Archibald and Truman Capote and Georges Auric's original music and the direction of Jack Clayton created a masterpiece that terrified even the critics.

En 1919, un jeune compositeur français du nom de Darius Milhaud, qui n’est alors qu’un tout jeune homme de 23 ans, compose Cinéma-fantaisie, ébauche de ce qui va devenir le célèbre Boeuf sur le toit, créé à Paris le 21 février 1920. Il s’agit à l’origine d’une pièce pour violon et piano destinée à accompagner un film muet de Charlie Chaplin. Membre, avec notamment Georges Auric et Francis Poulenc, du tout nouveau Groupe des Six, dont le mentor est le poète et dandy Jean Cocteau, Milhaud a été marqué par l’influence de son aîné Erik Satie (1866-1925), dont il va pour ainsi dire poursuivre l’esprit surréaliste. Au même moment, de l’autre côté de la Manche, William Walton, « l’enfant terrible de la musique anglaise », signe Façade sur des poèmes d’Edith Sitwell, qui, au début des années 1920, joue à Londres un rôle analogue à celui de Cocteau à Paris. L’univers déjanté des enfants terribles de la musique française et anglaise rencontre celui des surréalistes avant la lettre. Guy Marchand, musicologue, et Guylaine Massoutre, professeure, auteure et critique littéraire, s’entretiennent avec l’animateur Stéphane Lépine