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La Vie En Rose
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Browse piano sheets by Édith Piaf on Zen Virtual Piano. Édith Giovanna Gassion was born on 19 December 1915 in the 20th arrondissement of Paris, the daughter of street performers: Louis Alphonse Gassion (1881–1944), an acrobat, and Anita Maillard, called Line Marsa (1895–1945), a singer. After the First World War, Édith rejoined her father for a time and accompanied him in the streets, and in the early 1930s she decided to try her luck alone. Trying her luck alone in the early 1930s began a solo path that later brought collaborators such as Asso and Monnot into her story. After Louis Leplée, Raymond Asso and Marguerite Monnot presided over her destiny. Asso, a lyricist, was transported by the love he had for the young singer, and Monnot, a composer who had been a pupil of Alfred Cortot, created for her, together or separately, a repertoire that let her resounding voice and her talent as a tragedian express themselves fully. A lyricist and a composer writing for one voice give her songs the feeling of tailoring rather than selection. Larousse says she herself wrote “La Vie en rose” in 1946, though the Sacem deposit, dated 4 November 1945 and the version that counts as authoritative, is signed by Édith and her pianist Louis Guglielmi, known as Louiguy. Two names on a song’s deposit show how collaborations around a singer can blur into the singer’s own work. Adored by the popular public and respected by intellectual circles, she brought her experience to new artists such as Yves Montand, who was her partner in the film Étoile sans lumière (Marcel Blistène, 1945), and to the group the Compagnons de la chanson, with whom she recorded “Les Trois Cloches” in 1945. Larousse writes that in her lifetime she attracted every superlative, so exceptional were her destiny, her career and her voice, and that the emotional force of her songs, served by texts that magnify the French language, has remained intact. Texts that magnify the French language put the words on an equal footing with the voice. Bringing her experience to new artists while she was admired by the public and respected by intellectual circles marks a generous use of her standing.
Browse piano sheets by Édith Piaf on Zen Virtual Piano.
Édith Giovanna Gassion was born on 19 December 1915 in the 20th arrondissement of Paris, the daughter of street performers: Louis Alphonse Gassion (1881–1944), an acrobat, and Anita Maillard, called Line Marsa (1895–1945), a singer. After the First World War, Édith rejoined her father for a time and accompanied him in the streets, and in the early 1930s she decided to try her luck alone. Trying her luck alone in the early 1930s began a solo path that later brought collaborators such as Asso and Monnot into her story.
After Louis Leplée, Raymond Asso and Marguerite Monnot presided over her destiny. Asso, a lyricist, was transported by the love he had for the young singer, and Monnot, a composer who had been a pupil of Alfred Cortot, created for her, together or separately, a repertoire that let her resounding voice and her talent as a tragedian express themselves fully. A lyricist and a composer writing for one voice give her songs the feeling of tailoring rather than selection.
Larousse says she herself wrote “La Vie en rose” in 1946, though the Sacem deposit, dated 4 November 1945 and the version that counts as authoritative, is signed by Édith and her pianist Louis Guglielmi, known as Louiguy. Two names on a song’s deposit show how collaborations around a singer can blur into the singer’s own work.
Adored by the popular public and respected by intellectual circles, she brought her experience to new artists such as Yves Montand, who was her partner in the film Étoile sans lumière (Marcel Blistène, 1945), and to the group the Compagnons de la chanson, with whom she recorded “Les Trois Cloches” in 1945. Larousse writes that in her lifetime she attracted every superlative, so exceptional were her destiny, her career and her voice, and that the emotional force of her songs, served by texts that magnify the French language, has remained intact. Texts that magnify the French language put the words on an equal footing with the voice. Bringing her experience to new artists while she was admired by the public and respected by intellectual circles marks a generous use of her standing.
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On 19 December 1915 in the 20th arrondissement of Paris, the daughter of street performers.
The lyricist Raymond Asso and the composer Marguerite Monnot created a repertoire for her, together or separately, and Larousse says she wrote “La Vie en rose” (1946) herself; the Sacem deposit of 4 November 1945 is signed by Édith and Louis Guglielmi, known as Louiguy.
She was Yves Montand’s partner in the film Étoile sans lumière (1945) and recorded “Les Trois Cloches” in 1945 with the group the Compagnons de la chanson.