Beautiful Music

Yves Montand à l´Olympia – “Les Feuilles Mortes”

Yves Montand à l´Olympia – “Les Feuilles Mortes” avec partition

yves montand free sheet music & scores pdf

Yves Montand short biography

Ivo Livi, better known as Yves Montand (13 October 1921 – 9 November 1991), was an Italian-French actor and singer.

Montand was born Ivo Livi in Monsummano Terme, Italy, to Giovanni Livi, a broom manufacturer, and Giuseppina Simoni, a devout Catholic, while her husband held strong Communist beliefs.Montand’s family left for France in 1923 because of Italy’s Fascist regime. He grew up in Marseille, where, as a young man, he worked in his sister’s beauty salon (Salon de Coiffure), and later on the docks. He began a career in show business as a music-hall singer. In 1944, he was discovered by Édith Piaf in Paris and she made him part of her act.

Montand went on to international recognition as a singer and actor, starring in numerous films. His recognizably crooner songs, especially those about Paris, became instant classics. He was one of the most famous performers at Bruno Coquatrix‘s famous Paris Olympia music hall, and toured with musicians including Didi Duprat. In October 1947, he sang Mais qu’est-ce que j’ai ? (music by Henri Betti and lyrics by Édith Piaf) at the Théâtre de l’Étoile. Betti also asked him to sing C’est si bon but Montand refused. Following the success of the recording of this song by the Sœurs Étienne in 1948, he decided to record it.

In Paris, as the protégé of chanteuse Edith Piaf, he appeared in the 1945 motion picture Étoile sans lumière (Star Without Light). He married actress Simone Signoret in 1951. His role in La Salaire de la peur (1953; Wages of Fear) brought him international fame. His autobiography, Du Soleil plein la tête (Sunshine Fills My Mind), was published in 1955, before he gave his most-acclaimed performances, in La Guerre est finie (1966; The War Is Over) and in two films by director Costa-Gavras, Z (1968) and L’Aveu (1970; The Confession). His performances in Claude Berri’s film adaptations of two novels by Marcel PagnolJean de Florette (1986) and its sequel, Manon des sources (1986; Manon of the Spring)—were also highly acclaimed.

During his career, Montand acted in a number of American motion pictures as well as on Broadway. He was nominated for a César Award for “Best Actor” in 1980 for I comme Icare and again in 1984 for Garçon! In 1986, after his international box-office draw power had fallen off considerably, the 65-year-old Montand gave one of his most memorable performances, as the scheming uncle in the two-part film Jean de Florette, co-starring Gérard Depardieu, and Manon des Sources, co-starring Emmanuelle Béart. The film was a worldwide critical hit and raised Montand’s profile in the US, where he made an appearance on Late Night with David Letterman.


  • 1952: Chante (Odéon)
  • 1953: Chante ses dernières créations (Odéon)
  • 1953: Chante Paris (Odéon)
  • 1953: Récital au Théâtre de l’Étoile 1953 (Odéon, live)
  • 1954: Chante ses derniers succès (Odéon)
  • 1954: # 54 (Odéon)
  • 1955: Chansons populaires de France (Odéon)
  • 1957: 13 ans déjà ! (Odéon)
  • 1958: Dix chansons pour l’été (Odéon)
  • 1958: Succès du Récital 1958 au Théâtre de L’Étoile (Odéon)
  • 1958: Récital 1 + Récital 2 (Philips)
  • 1958: Étoile 58 (Philips)
  • 1960: Dansez avec Yves Montand (Philips)
  • 1961: Rengaine ta rengaine (Philips)
  • 1962: Chante Prévert (Philips)
  • 1962: Récital 63 – Intégral du Théâtre de l’Étoile (Philips, live)
  • 1967: 7 (Philips)
  • 1968: La Bicyclette (Philips)
  • 1968: Le Paris de… (Philips)
  • 1968: À l’Olympia (Philips, live)
  • 1970: On a Clear Day You Can See Forever (Columbia, soundtrack with Barbra Streisand)
  • 1972: Dans son dernier “One man show” intégral (CBS, live)
  • 1974: Montand de mon temps (CBS or TriStar Music)
  • 1981: D’hier et d’aujourd’hui (Philips)
  • 1981: Le disque de la paix (Philips)
  • 1982: Olympia 81 (Philips)
  • 1983: In English (Philips)
  • 1984: Chante David Mc Neil (Philips)
  • 1988: Trois places pour le 26 (Philips, w/ Mathilda May, soundtrack)
  • 1993: Les années Odéon – 1945–1958 (Columbia, 9-CD boxset)
  • 1997: Plaisirs inédits (Universal)
  • 2000: Et la fête continue – Intégrale 1945–1949 – Vol. 1 (Frémeaux)
  • 2001: Inédits, rares & indispensables (Mercury, 4-CD boxset)
  • 2004: Sensationnel – Intégrale 1949–1953 – Vol. 2 (Frémeaux)
  • 2007: Une étoile à l’Étoile – Intégrale 1953–1954 – Vol. 3 (Frémeaux, live)
Beautiful Music

Solitude Joep Beving – piano solo

Solitude Joep Beving – piano solo (with sheet music)

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“Like musicians across the globe, Joep Beving has been working in isolation in recent weeks, and now the Dutch composer/pianist announces the release by Deutsche Grammophon of his brand-new single Solitude, available to stream or download as of today, 17 April 2020. ” (ref. post:…)

Joep Beving biography

Joep Beving is a Dutch pianist and composer based in Amsterdam who considers his work simple music for complex emotions. Given the sparse, emotionally vulnerable nature of his music, his physically imposing appearance — he’s 6’10” with extremely long hair and a beard — stands in sharp contrast to his languid, haunting creations. Beving‘s compositions are sparse, simple, and usually quite minimally adorned.

He claims to take a pop approach to composition and performance, resulting in categorizations of his oeuvre as neo-classical, or classical crossover. His 2018 album Conatus was a collection of completely re-imagined (rather than remixed) previously published pieces performed by Suzanne Ciani, Thomas Bloch, and Andrea Belfi, among others. Beving has also written and produced a substantial body of music for TV, cinema, and commercials.

Beving formed his first band at 14 and cut his concert debut at his hometown’s (Doetinchem) jazz festival. When he left school, he was torn between a life in music and a career in government. When a wrist injury forced him to relinquish his piano studies at the Conservatoire and focus on earning an economics degree, it seemed that music’s loss would be the civil service’s gain. But he could not get music out of his head or his heart. Beving reached a compromise between his two conflicting paths.

While he started his professional life as a copywriter in advertising, his desire to continue playing music led him to the Amsterdam-based MassiveMusic in 2003, where he was head of business development and strategy and composed music for client brands. In his spare time, he played keyboards with successful Dutch nu-jazz outfit the Scallymatic Orchestra and the “electrosoulhopjazz collective” Moody Allen; he also dabbled in the production of electronica with solo project I Are Giant.

During a trip to Cannes for the Lions Festival in 2008 — the Oscars of the advertising world — Beving played one of his compositions at the grand piano in his hotel, and people started to cry. He stated in an interview that “It was the first time I had seen the emotional effect my music could have on an audience.”

The musician returned to the acoustic piano in total. Encouraged by the response he received at Cannes, he organized a dinner party for close friends at his home in Amsterdam. In 2009, he played them his music on a piano left to him by his late grandmother: “It was the first time my friends had heard me play music they thought should travel outside my living room. It was the push to pursue the dream of doing a solo album with just my instrument.”

Beving wrote more songs and recorded them in single takes over the course of three months in his kitchen, playing in the still of night while his girlfriend and daughters slept.

solitude joep beving

Turned down by the only label he approached, Beving decided to press the album on his own. He started his own record label (Sonderling B.V.) and released 1,500 vinyl copies of his debut classical album, Solipsism, in 2015, comprised entirely of these home-recorded works. His release party was held in the studio of Amsterdam fashion designer Hans Ubbink, where Beving performed the album in its entirety for the first time.

The initial pressing quickly sold out and, after uploading them to streaming services, Solipsism became a viral phenomenon and gained some 60 million streams, while his artist account was followed by a million users. As a result of his enormous online success, Beving was invited to perform on a prime-time Dutch television show. The following day, his album knocked One Direction off the top of the charts.


He was pursued by several concert promoters offering shows, including a prestigious solo recital at Amsterdam’s Concertgebouw. His album found its way to Berlin when another friend played it in her local bar, “at 2 a.m. with everyone smoking and drinking Moscow mules.” By chance, one of the night owls in attendance was Deutsche Grammophon executive Christian Badzura. After making online contact, they met when Beving performed at Berlin’s Christophori Piano Salon. The evening ended with the pianist signing with the classical label.

Beving‘s debut for his new label was the 2017 album Prehension. A natural successor to Solipsism, it carries forward the musical and philosophical themes Beving identified in his music: “I am reacting to the absolute grotesqueness of the things that are happening around us, in which you feel so insignificant and powerless that you alienate yourself from reality and the people around you because it is so impossible to grasp. I just write what I think is beautiful, leaving out a lot of notes, telling a story through my instrument, trying to unite us with something simple, honest, and beautiful.”

While composing works for a third LP, Beving was approached by Badzura about releasing a remix album as a stopgap. After some discussion, the pair agreed that remixing wasn’t really the right approach — reworking or reinterpreting his compositions would prove a better concept. Conatus, released in September 2018, was comprised of reworked pieces by a spectrum of artists including Ciani, Belfi, and Bloch, as well as CFCF, Cello Octet Amsterdam, Colin Benders, and Tom Trago. It also included “Prelude,” a new composition to be featured on 2018’s Conatus.

Download Joep Beving’s scores from our Library.

Beautiful Music

La Mer Beyond the Sea – Avalon Jazz Band

La Mer Beyond the Sea – Avalon Jazz Band avec partition

la mer partition sheet music pdf

Beyond the Sea” is a 1945 contemporary pop romantic love song by Jack Lawrence, with music taken from the song “La Mer” by Charles Trenet.

Trenet had composed “La Mer” (which means “the Sea”) with French lyrics. It had some differences to the English-language version that Lawrence later wrote. Trenet’s French version was a homage and ode to the changing moods of the sea, while Lawrence, by just adding one word “Beyond” to the title, gave him the start whereby he made the song into a love song.


“Beyond the Sea” has been recorded by many artists, but Bobby Darin‘s version released in late 1959 is the best known by many, reaching No. 6 on the Billboard Hot 100, No. 15 on the US R&B Chart, and No. 8 in the UK Singles Chart. in early 1960.

Before Bobby Darin’s, two recordings reached the Top 40 of the Billboard Hot 100. Benny Goodman‘s version charted in 1948, and was featured in the Cary Grant/Betsy Drake romantic comedy Every Girl Should Be Married. Roger Williams‘ recording reached No. 37 in 1955.

Deana Martin recorded Beyond the Sea in 2013. The song was released on her album, Destination Moon, in 2013 by Big Fish Records.

American R&B singer George Benson recorded an R&B version of the song under the title “Beyond The Sea (La Mer).” It was released on Warner Bros. This version entered the UK Singles Chart on 20 April 1985. It reached a peak position of no. 60 and remained on the chart for three weeks.

The first recording of Beyond the Sea was by Harry James and His Orchestra on December 22, 1947, and the first recording of La Mer was by French jazz musician Roland Gerbeau in December 1945.

Charles Trenet

Louis Charles Augustin Georges Trenet (18 May 1913 – 19 February 2001) was a French singer-songwriter, who composed both the music and the lyrics to nearly a thousand songs. These include “La Mer“, “Boum!” and “Y’a d’la joie”, and supported a career that lasted over sixty years.


Somewhere beyond the sea
Somewhere waitin’ for me
My lover stands on golden sands
And watches the ships that go sailin’

Somewhere beyond the sea
She’s there watchin’ for me
If I could fly like birds on high
Then straight to her arms, I’d go sailin’

It’s far beyond a star
It’s near beyond the moon
I know beyond a doubt
My heart will lead me there soon

We’ll meet beyond the shore
We’ll kiss just as before
Happy we’ll be beyond the sea
And never again I’ll go sailin’

I know beyond a doubt, ah!
My heart will lead me there soon

We’ll meet, I know we’ll meet beyond the shore
We’ll kiss just as before
Happy we’ll be beyond the sea
And never again I’ll go sailin’

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Beautiful Music

Georges Moustaki Le quotidien Cotidiano n°2 Vinicius De Moraes & Toquinho

Georges Moustaki Le quotidien Cotidiano n°2 Vinicius De Moraes & Toquinho (partition)

moustaki free sheet music & scores pdf


Parfois je ne sais pas ce qui m’arrive
Je noie la poésie dans l’alcool
Je ne sais pas lequel des deux m’enivre
Et pour finir je parle de footballEt lorsque j’en ai marre
Je gratte ma guitare
Lorsque j’en ai marre
Je gratte ma guitareChaque matin j’avale un café crème
En lisant des journaux remplis de sang
Mais le regard d’un enfant me ramène
Dans un monde meilleur et innocentLorsque j’en ai marre
Je gratte ma guitare
Lorsque j’en ai marre
Je gratte ma guitareJe parle du tiercé avec ma femme
Un jour on finira par le toucher
Ensemble on rêve et ça réchauffe l’âme
De rêver du jour où tout va changerLorsque j’en ai marre
Je gratte ma guitare
Lorsque j’en ai marre
Je gratte ma guitareLe samedi on boit quelques bouteilles
Ça fait passer l’amertume et le temps
Tant pis si le dimanche on se réveille
Avec les mêmes problèmes qu’avantLorsque j’en ai marre
Je gratte ma guitare
Lorsque j’en ai marre
Je gratte ma guitareParfois lorsque mon esprit vagabonde
J’essaie de croire qu’il y a un bon Dieu
Je lui dis pourquoi as-tu fais le monde
Si c’est pour le défaire peu à peuEt lorsque j’en ai marre
Je gratte ma guitare.

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Jazz & Rock Play Along

What a wonderlful world (with lead sheet music)

What a wonderlful world (with lead sheet music)

lead sheet music free sheet music & scores pdf download

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J.S. Bach

J.S. Bach Well-Tempered Clavier 1 No 2 in C minor BWV 847

J.S. Bach Well-Tempered Clavier 1 No 2 in C minor BWV 847 (Sviatoslav Richter, piano) with sheet music

bach sheet music pdf

Sviatoslav Richter

Sviatoslav Teofilovich Richter (Святослав Теофилович Рихтер, Sviatosláv Teofílovich Ríkhter, IPA: March 20, 1915 – August 1, 1997) was a Soviet and Russian pianist who is generally regarded as one of the greatest pianists of all time. He is known for the “depth of his interpretations, his virtuoso technique, and his vast repertoire.”

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Jazz & Blues Music

Misty – Jazz Standard song by Erroll Garner

Misty – Jazz Standard song by Erroll Garner with sheet music

jazz standard free sheet music pdf misty


“Misty” is a jazz standard written in 1954 by pianist Erroll Garner. He composed it as an instrumental on the traditional 32-bar format and recorded it for the album Contrasts (1955). Lyrics were added later by Johnny Burke. It became the signature song of Johnny Mathis, appearing on his 1959 album Heavenly and reaching number 12 on the U.S. Pop Singles chart later that year. The song has been recorded many times, including versions by Ella Fitzgerald, Frank Sinatra, and, most recently, by alternative rock band Qui.


Look at me
I’m as helpless as a kitten up a tree
And I feel like I’m clingin’ to a cloud
I can’t understand
I get misty, just holding your handWalk my way
And a thousand violins begin to play
Or it might be the sound of your hello
That music I hear
I get misty whenever you’re nearDon’t you know that you’re leading me on?

And it’s just what I want you to do
Can’t you see that I’m hopelessly lost?
That’s why I’m following youOn my own
When I wander through this wonderland alone
Never knowing my right foot from my left
My hat from my glove
I’m too misty, and too much in loveToo misty
And too much
Too much in love

Erroll Garner

Erroll Louis Garner (June 15, 1921 – January 2, 1977) was an American jazz pianist and composer known for his swing playing and ballads. His best-known composition, the ballad “Misty“, has become a jazz standard. Scott Yanow of Allmusic calls him “one of the most distinctive of all pianists” and a “brilliant virtuoso.” He received a star on the Hollywood Walk of Fame at 6363 Hollywood Blvd. His live album, Concert by the Sea, first released in 1955, sold over a million copies by 1958 and Scott Yanow’s opinion is: “this is the album that made such a strong impression that Garner was considered immortal from then on.”

jazz standards sheet music

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Best Classical Music

Frederic Chopin Étude op. 25 no. 7 in C sharp minor Vladimir Horowitz

Frederic Chopin Étude op. 25 no. 7 in C sharp minor Vladimir Horowitz, piano with sheet music

frederic chopin sheet music pdf

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Film & TV Music

La La Land – Main Theme (piano solo)

La La Land – Main Theme (piano solo) with sheet music

la la land free sheet music pdf

La La Land: Original Motion Picture Soundtrack is the soundtrack album to the 2016 film La La Land. The soundtrack album was released through Interscope Records on December 9, 2016. The album has peaked at number 2 on the US Billboard 200 and number 1 on the UK Albums Chart. At the 89th Academy Awards, the film won the Academy Awards for Best Original Score and Best Original Song for “City of Stars”.

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Rock & Pop Music

Muse – Exogenesis Symphony Part 3 (Redemption)

Muse – Exogenesis Symphony Part 3 (Redemption) Piano solo with sheet music

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are an English rock band from Teignmouth, Devon, formed in 1994. The band consists of Matt Bellamy (lead vocals, guitar, keyboards), Chris Wolstenholme (bass guitar, backing vocals), and Dominic Howard (drums).

Muse released their debut album, Showbiz, in 1999, showcasing Bellamy’s falsetto and a melancholic alternative rock style. Their second album, Origin of Symmetry (2001), incorporated wider instrumentation and romantic classical influences, featured their acclaimed cover of “Feeling Good“, and earned them a reputation for energetic live performances. Absolution (2003) saw further classical influence, with strings on tracks such as “Butterflies and Hurricanes“, and was the first of six consecutive UK number-one albums.

Black Holes and Revelations (2006) incorporated electronic and pop elements, displayed in singles such as “Supermassive Black Hole“,[1] and brought Muse wider international success. The Resistance (2009) and The 2nd Law (2012) explored themes of government oppression and civil uprising and cemented Muse as one of the world’s major stadium acts. Rolling Stone stated the band possessed “stadium-crushing songs”.

Topping the US Billboard 200, their seventh album, Drones (2015), was a concept album about drone warfare and returned to a harder rock sound. Their eighth album, Simulation Theory (2018), prominently featured synthesisers and was influenced by science fiction and the simulation hypothesis.

Muse have won numerous awards, including two Grammy Awards, two Brit Awards, five MTV Europe Music Awards and eight NME Awards. In 2012 they received the Ivor Novello Award for International Achievement from the British Academy of Songwriters, Composers and Authors. As of June 2016, they have sold over 20 million albums worldwide.

Musical style

Described as an alternative rock, space rock and progressive rock band, Muse mix sounds from genres such as electronic music, progressive metal and art rock, and forms such as classical music, rock opera and many others. In 2002, Bellamy described Muse as a “trashy three-piece”. In 2005, Pitchfork described Muse’s music as “firmly ol’ skool at heart: proggy hard rock that forgoes any pretensions to restraint … their songs use full-stacked guitars and thunderous drums to evoke God’s footsteps.”

AllMusic described their sound as a “fusion of progressive rock, glam, electronica, and Radiohead-influenced experimentation.” On the band’s association with progressive rock, Howard said: “I associate it [progressive rock] with 10-minute guitar solos, but I guess we kind of come into the category. A lot of bands are quite ambitious with their music, mixing lots of different styles – and when I see that I think it’s great. I’ve noticed that kind of thing becoming a bit more mainstream.”

For their second album, Origin of Symmetry (2001), Muse wanted to craft a more aggressive sound. In 2000, Wolstenholme said: “Looking back, there isn’t much difference sonically between the mellow stuff and the heavier tracks [on Showbiz]. The heavy stuff really could have been a lot heavier and that’s what we want to do with [Origin of Symmetry].”

Their third album, Absolution (2003), features prominent string arrangements and drew influences from artists such as Queen. Their fourth album, Black Holes and Revelations (2006) was influenced by artists including Depeche Mode and Lightning Bolt, as well as Asian and European music such as Naples music. The band listened to radio stations from the Middle East during the album’s recording sessions.

Queen guitarist Brian May has praised Muse’s work, calling the band “extraordinary musicians”, who “let their madness show through, always a good thing in an artist.”

Muse’s sixth album, The 2nd Law (2012) has a broader range of influences, ranging from funk and film scores to electronica and dubstep. The 2nd Law is influenced by rock acts such as Queen and Led Zeppelin (on “Supremacy“) as well as dubstep producer Skrillex and Nero (on “The 2nd Law: Unsustainable” and “Follow Me“, with the latter being co-produced by Nero), Michael Jackson, Stevie Wonder (on “Panic Station” which features musicians who performed on Stevie Wonder’s “Superstition“) and Hans Zimmer.

The album features two songs with lyrics written and sung by bassist Wolstenholme, who wrote about his battle with alcoholism. It features extensive electronic instrumentation, including modular synthesisers and the French Connection, a synthesiser controller similar to the ondes martenot.

Many Muse songs are recognisable by vocalist Matt Bellamy’s use of vibrato, falsetto, and melismatic phrasing, influenced by Jeff Buckley. As a pianist, Bellamy often uses arpeggios. Bellamy’s compositions often suggest or quote late classical and romantic era composers such as Sergei Rachmaninov (in “Space Dementia” and “Butterflies and Hurricanes“), Camille Saint-Saëns (in “I Belong to You (+Mon Cœur S’ouvre a ta Voix)”) and Frédéric Chopin (in “United States of Eurasia“).

As a guitarist, Bellamy often uses arpeggiator and pitch-shift effects to create a more “electronic” sound, citing Jimi Hendrix and Tom Morello as influences. His guitar playing is also influenced by Latin and Spanish guitar music; Bellamy said: “I just think that music is really passionate…It has so much feel and flair to it. I’ve spent important times of my life in Spain and Greece, and various deep things happened there – falling in love, stuff like that. So maybe that rubbed off somewhere.”

Wolstenholme’s basslines are a central motif of many Muse songs; the band combines bass guitar with effects and synthesisers to create overdriven fuzz bass tones. Both Bellamy and Wolstenholme use touch-screen controllers, often built into their instruments, to control synthesisers and effects including a Korg Kaoss pad or Digitech Whammy pedal.


Most earlier Muse songs lyrically dealt with introspective themes, including relationships, social alienation, and difficulties they had encountered while trying to establish themselves in their hometown. However, with the band’s progress, their song concepts have become more ambitious, addressing issues such as the fear of the evolution of technology in their Origin of Symmetry (2001) album. They deal mainly with the apocalypse in Absolution (2003) and with catastrophic war in Black Holes and Revelations (2006). The Resistance (2009) focused on themes of government oppression, uprising, love, and panspermia.

The album itself was mainly inspired by Nineteen Eighty-Four by George Orwell. Their sixth studio album, The 2nd Law (2012) relates to economics, thermodynamics, and apocalyptic themes. Their 2015 album Drones, is a concept album that uses autonomous killing drones as a metaphor for brainwashing and loss of empathy.

Books that have influenced Muse’s lyrical themes include Nineteen Eighty-Four, Confessions of an Economic Hitman by John Perkins, Hyperspace by Michio Kaku, The 12th Planet by Zecharia Sitchin, Rule by Secrecy by Jim Marrs and Trance Formation of America by Cathy O’Brien.

Band members

Matt Bellamylead vocals, guitars, keyboards, piano, synthesizers Dominic Howarddrums, percussions Chris Wolstenholmebass guitar, backing vocals, occasional keyboards and guitarTouring musicians Morgan Nicholls – guitars, keyboards and synthesizers, backing vocals, samples, bass (2004, 2006–present) Dan “The Trumpet Man” Newelltrumpet (2006–2008) Alessandro Cortini – keyboards, synthesizers (2009, substitute)

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