 | L'Amour medecin - Part 1 Secondary Theater Troupe, Group 1 |
 | L'Amour medecin - Part 2 Secondary Theater Troupe, Group 1. Directed by Emilie Paradossi |
 | Quand on n'a que l'Amour Petit photo-montage autour de Mike & Sully avec pour thème "Quand on n'a que l'amour" chanté par la Chorale Sainte Eve (de D....) dont je fais partie. |
 | Kro-nen-bourre, la biere de l'amour Kro-nen-bourre, la biere de l'amour |
 | L'amour pour toujours le 26 JUIN au soir, en me couchant, après avoir réalisé auprès de "Doc" mon médecin, des tests cela mais venu à l'idée et voila ... |
 | Quatuor vocal "L'amour ma thématique" -M- Alors là je n'ai pas cherché à en faire des caisses, ni à faire de la blagouze à foison, non, le challenge c'était de refaire "L'amour ma thématique", sur le modèle du cd, le plus simplement possible. J'ai quand même casé un mini duo de trombones vocaux. Ce n'est pas un playback! A plus, et par pitié, arrêtez de manger des flageolets et du roquefort avant vos entretien d'embauche, ça va mal finir ! Ed |
 | Lully: Marche Pour la Ceremonie des Turcs Stereo: http://br.youtube.com/watch?v=81bxIH9uvhk&fmt=18 Jean Baptiste de Lully (1632 - 1687). Marche pour la ceremonie des Turcs. Les Concert des Nations. Dir: Jordi Savall. Born in Florence, the son of a miller, Lully had little education, musical or otherwise, but he had a natural talent to play the guitar and violin and to dance. In 1646, he was discovered by the Duke of Guise and taken to France by him, where he entered the services of Mademoiselle de Montpensier (la Grande Mademoiselle) as a scullery-boy. With the help of this lady, his musical talents were cultivated. He studied the theory of music under Nicolas Métru. A scurrilous poem on his patroness resulted in his dismissal. He came into Louis XIV's service in late 1652, early 1653 as a dancer. He composed some music for the Ballet de la Nuit, which pleased the king immensely. He was appointed as the composer of instrumental music to the king and conducted the royal string orchestra of the French court, Les Vingt-quatre Violons du Roi (Twenty-four Violins of the King) or the Grande Bande (large band). He tired of the lack of discipline of the Grande Bande and, with the King's permission, formed his own Petits Violons. Lully composed many ballets for the King during the 1650s and 1660s, in which the King and Lully himself danced. He also had tremendous success composing the music for the comedies of Molière, including Le Mariage forcé (1664), L'Amour médecin (1665), and Le Bourgeois gentilhomme (1670). Louis XIV's interest in ballet waned as he aged, and his dancing ability declined (his last performance was in 1670) and so Lully pursued opera. He bought the privilege for opera from Pierre Perrin and, with the backing of Jean-Baptiste Colbert and the king, created a new privilege which essentially gave Lully complete control of all music performed in France until his death. He was a notorious libertine. In 1662, he did marry Madeleine Lambert, daughter of Lully's friend and fellow musician Michel Lambert, and proceeded to have ten children by her. But at the height of his career, in 1685, he felt confident enough to flaunt his relationship with Brunet, his young page from La Chapelle. Although his life is full of meteoric heights, his love affairs with boys and women brought him down in scandal several times to the great displeasure of Louis XIV and led to his renown as a sodomite. Despite these scandals, he always managed to get back into the good graces of Louis XIV who found Lully essential for his musical entertainments and who thought of Lully as one of his few true friends. In 1681, Lully was appointed as a court secretary to Louis XIV and was ennobled, after which he wrote his name "Jean-Baptiste de Lully" and was addressed as "Monsieur de Lully". On January 8, 1687, Lully was conducting a Te Deum in honor of Louis XIV's recent recovery from illness. He was beating time by banging a long staff (a precursor to the baton) against the floor, as was the common practice at the time, when he struck his toe, creating an abscess. The wound turned gangrenous, but Lully refused to have his toe amputated and the gangrene spread resulting in his death on 22 March. He left his last opera, Achille et Polyxène, unfinished. |
 | Lully: Chaconne in G Major Stereo: http://br.youtube.com/watch?v=vNx-i4oL6Fs&fmt=18 Jean Baptiste de Lully (1632 - 1687). Chaconne in G Major. Musica Antiqua Köln. Florian Deuter (Violin I) Reinhard Goebel (Violin II). Christian Rieger (Cembalo). Dir: Reinhard Goebel. Born in Florence, the son of a miller, Lully had little education, musical or otherwise, but he had a natural talent to play the guitar and violin and to dance. In 1646, he was discovered by the Duke of Guise and taken to France by him, where he entered the services of Mademoiselle de Montpensier (la Grande Mademoiselle) as a scullery-boy. With the help of this lady, his musical talents were cultivated. He studied the theory of music under Nicolas Métru. A scurrilous poem on his patroness resulted in his dismissal. He came into Louis XIV's service in late 1652, early 1653 as a dancer. He composed some music for the Ballet de la Nuit, which pleased the king immensely. He was appointed as the composer of instrumental music to the king and conducted the royal string orchestra of the French court, Les Vingt-quatre Violons du Roi (Twenty-four Violins of the King) or the Grande Bande (large band). He tired of the lack of discipline of the Grande Bande and, with the King's permission, formed his own Petits Violons. Lully composed many ballets for the King during the 1650s and 1660s, in which the King and Lully himself danced. He also had tremendous success composing the music for the comedies of Molière, including Le Mariage forcé (1664), L'Amour médecin (1665), and Le Bourgeois gentilhomme (1670). Louis XIV's interest in ballet waned as he aged, and his dancing ability declined (his last performance was in 1670) and so Lully pursued opera. He bought the privilege for opera from Pierre Perrin and, with the backing of Jean-Baptiste Colbert and the king, created a new privilege which essentially gave Lully complete control of all music performed in France until his death. He was a notorious libertine. In 1662, he did marry Madeleine Lambert, daughter of Lully's friend and fellow musician Michel Lambert, and proceeded to have ten children by her. But at the height of his career, in 1685, he felt confident enough to flaunt his relationship with Brunet, his young page from La Chapelle. Although his life is full of meteoric heights, his love affairs with boys and women brought him down in scandal several times to the great displeasure of Louis XIV and led to his renown as a sodomite. Despite these scandals, he always managed to get back into the good graces of Louis XIV who found Lully essential for his musical entertainments and who thought of Lully as one of his few true friends. In 1681, Lully was appointed as a court secretary to Louis XIV and was ennobled, after which he wrote his name "Jean-Baptiste de Lully" and was addressed as "Monsieur de Lully". On January 8, 1687, Lully was conducting a Te Deum in honor of Louis XIV's recent recovery from illness. He was beating time by banging a long staff (a precursor to the baton) against the floor, as was the common practice at the time, when he struck his toe, creating an abscess. The wound turned gangrenous, but Lully refused to have his toe amputated and the gangrene spread resulting in his death on 22 March. He left his last opera, Achille et Polyxène, unfinished. |
 | Jean Baptiste Lully: Te Deum (Symphony) Stereo: http://it.youtube.com/watch?v=wCf79gtMqqU&fmt=18 Jean Baptiste de Lully (1632 - 1687). I. Te Deum (Symphony). Musica Antiqua Köln. Dir. Reinhard Goebel. Born in Florence, the son of a miller, Lully had little education, musical or otherwise, but he had a natural talent to play the guitar and violin and to dance. In 1646, he was discovered by the Duke of Guise and taken to France by him, where he entered the services of Mademoiselle de Montpensier (la Grande Mademoiselle) as a scullery-boy. With the help of this lady, his musical talents were cultivated. He studied the theory of music under Nicolas Métru. A scurrilous poem on his patroness resulted in his dismissal. He came into Louis XIV's service in late 1652, early 1653 as a dancer. He composed some music for the Ballet de la Nuit, which pleased the king immensely. He was appointed as the composer of instrumental music to the king and conducted the royal string orchestra of the French court, Les Vingt-quatre Violons du Roi (Twenty-four Violins of the King) or the Grande Bande (large band). He tired of the lack of discipline of the Grande Bande and, with the King's permission, formed his own Petits Violons. Lully composed many ballets for the King during the 1650s and 1660s, in which the King and Lully himself danced. He also had tremendous success composing the music for the comedies of Molière, including Le Mariage forcé (1664), L'Amour médecin (1665), and Le Bourgeois gentilhomme (1670). Louis XIV's interest in ballet waned as he aged, and his dancing ability declined (his last performance was in 1670) and so Lully pursued opera. He bought the privilege for opera from Pierre Perrin and, with the backing of Jean-Baptiste Colbert and the king, created a new privilege which essentially gave Lully complete control of all music performed in France until his death. He was a notorious libertine. In 1662, he did marry Madeleine Lambert, daughter of Lully's friend and fellow musician Michel Lambert, and proceeded to have ten children by her. But at the height of his career, in 1685, he felt confident enough to flaunt his relationship with Brunet, his young page from La Chapelle. Although his life is full of meteoric heights, his love affairs with boys and women brought him down in scandal several times to the great displeasure of Louis XIV and led to his renown as a sodomite. Despite these scandals, he always managed to get back into the good graces of Louis XIV who found Lully essential for his musical entertainments and who thought of Lully as one of his few true friends. In 1681, Lully was appointed as a court secretary to Louis XIV and was ennobled, after which he wrote his name "Jean-Baptiste de Lully" and was addressed as "Monsieur de Lully". On January 8, 1687, Lully was conducting a Te Deum in honor of Louis XIV's recent recovery from illness. He was beating time by banging a long staff (a precursor to the baton) against the floor, as was the common practice at the time, when he struck his toe, creating an abscess. The wound turned gangrenous, but Lully refused to have his toe amputated and the gangrene spread resulting in his death on 22 March. He left his last opera, Achille et Polyxène, unfinished. |
 | GUY GILBERT LE LANGAGE DE L'AMOUR. Guy Gilbert, ce prêtre éducateur hors du commun est profondément humain, il est constamment ouvert aux réalités de ce monde. Profondément Homme de Dieu, comblé des dons de l'Esprit Saint, il vit "comme s'il voyait l'invisible". Ces deux aspects se sont fondus dans un projet de vie d'une profonde unité : le service des jeunes. Guy Gilbert le réalise avec une constante fermeté au milieu des obstacles et des fatigues, et avec toute la sensibilité d'un coeur généreux. Une présence parmi les jeunes marquée par la raison, la religion et le coeur. Guy Gilbert a donné son coeur, son âme aux Jeunes défigurés par une existence où la violence avait toujours le dernier mot. Son évangélisation se pratique par le Témoignage de Vie, par cet Amour donné sans mesure aux plus pauvres dans le partage des valeurs évangéliques. Guy dit toujours que sa seule Force vient de la prière et je veux bien le croire moi, qui suis également éducateur de Rue. L'Esprit-Saint donne cette puissance d'aimer sans jamais baisser les bras pour aller jusqu'au bout de l'individu, de l'ado qui s'exprime par des agressions inouïes car, il ne connaît pas d'autre langage. Guy Gilbert fait appel non pas aux contraintes aliénantes, mais aux ressources de l'intelligence, du coeur et du désir de Dieu que tout homme porte au plus profond de lui-même. Il associe dans une même expérience de vie éducateurs et jeunes en un climat de famille, de confiance et de dialogue. Il accompagne, depuis des années, ces Jeunes multirécidivistes, pour que mûrissent en eux, de solides convictions et deviennent progressivement responsables du délicat processus de croissance de leur humanité. Cheminement dynamique qui promeut la participation active des jeunes, notamment à la Bergerie de Faucon où ils retrouvent un authentique contact avec la nature. Sa pratique éducative et humaine exige de nous une attitude de fond : la sympathie et la volonté de contact avec les Jeunes. Être fraternellement présents au milieu des jeunes, d'une présence active et amicale qui favorise de leur côté toute initiative pour croître dans le bien et qui les encourage à se libérer de toutes les servitudes, afin que le nihilisme ne domine pas leur fragilité. Cette présence nous ouvre à la connaissance vitale du monde des jeunes et à la solidarité avec tous les aspects authentiques de son dynamisme. Mais, bon sang, il serait temps que d'autres se lèvent pour assumer également cette fantastique mission éducative dans l'esprit de Guy avec le même dynamisme, la même Espérance, la même Foi en Christ pour inventer le monde de demain avec des repères plus sûrs. Guy n'est pas un gourou, il nous indique les sources auxquelles nous pouvons puiser la Force d'Aimer sans retour et tel Don Bosco, il pourrait nous dire : j'ai imaginé les dessins et c'est à vous de mettre les couleurs, maintenant... Oui, nous mettrons les couleurs au monde selon nos talents, ce sera notre façon de te rendre hommage Guy, bien plus que de longs discours sur l'homme de très grande valeur que tu représentes aux yeux de tous. Nous redonnerons le sens de la Beauté des animaux et des plantes sans pour autant imiter par un mimétisme malsain, la Bergerie de Faucon. Nous trouverons bien d'autres Bergeries qui émaneront de notre coeur, notre Foi pour rendre le monde meilleur. Tes actions ne resteront pas lettres mortes, mon Cher Guy, nous t'en faisons la Promesse devant Dieu-Amour !. Ce sera notre façon de devenir des étoiles du Berger, à notre tour. Chaque homme laisse une trace dans l'humanité, la tienne est imitable à l'infini, puisqu'elle provient d'un plus grand que toi qui murmure en ton âme. Laissons l'écho de sa voix emplir nos consciences et suivre le chemin indiqué, jusqu'au bout de notre Humanité. Bruno LEROY. Éducateur de rue. |
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![Don\](images/articles/thumbs/beachrainthumb.jpg "Don\")
