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Au Départ brand relaunched in April 2019 upon the Milan Design Week in Italy, with an installation of old trunks from the Au Départ historical archive and the introduction of new trunks. Au Départ released a new collection of trunks and bags featuring the signature monogram motif upon a launch on Paris' historic rue Saint Honoré in 2019 [14 ...
The soundtrack to the Japanese drama film Departures (Japanese: おくりびと, Hepburn: Okuribito, "one who sends off") directed by Yōjirō Takita featured musical score written and produced by Joe Hisaishi and featured orchestral performances from the Tokyo Metropolitan and NHK Symphony Orchestras. [1]
Trunk Records is a British independent record label, which specialises mainly in lost film scores, unreleased TV music, library music, old advertising jingles, art, sexploitation and kitsch releases.
The track is used in many references to the film including Shaun of the Dead and a variation (performed in chicken clucks) is used as the end theme to Robot Chicken. The early part of the tune to "The Gonk" was used in " The Ladies' Bras ", a track by Jonny Trunk and Wisbey which, at only 36 seconds long, became the shortest ever UK top 40 ...
He was a prolific writer of works of chamber music, often with piano, and some works for two pianos. Poulenc composed many songs (mélodies), most of them accompanied by piano, but some also in versions with a small instrumental ensembles, for example his Rapsodie nègre for baritone, flute
Jean-Amédée Lefroid de Méreaux (18 September 1802 – 25 April 1874) was a French composer, pianist, piano teacher, musicologist and music critic. He is best-known for his 60 Grandes Études , Op. 63.
Le Chant du Départ, anthem of the First French Empire (instrumental) " Le Chant du départ" (French: [lə ʃɑ̃ dy de.paʁ]; lit. ' The Song of Departure ') is a French revolutionary war song, composed by Étienne Méhul and written by Marie-Joseph Chénier in 1794.
The first waltz theme is a familiar gently rising triad motif played by cellos and horns in the tonic (D major), accompanied by the harp; the Viennese waltz beat is accentuated at the end of each 3-note phrase. The Waltz 1A triumphantly ends its rounds of the motif, and waltz 1B follows in the same key; the genial mood is still apparent.