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"Clair de Lune" is a song released by the Australian DJ duo Flight Facilities, written by singer-songwriter Christine Hoberg and producers Hugo Gruzman and James Lyell. It features a melodic interpretation of a section of " Clair de Lune " by French composer Claude Debussy .
[1] [2] In its orchestral form the song was included in Fauré's incidental music Masques et bergamasques in 1919. [1] The original published version (Hamelle, Paris, 1888) is in B-flat minor. The song is dedicated to Fauré's friend the painter Emmanuel Jadin, who was a talented amateur pianist.
"Clair de lune" (Fauré), setting of the Paul Verlaine poem by Fauré, from his Two Songs, Op. 46 (1887) Clairs de lune, a set of four piano pieces, each titled "Claire de Lune", by Abel Decaux (1907) Piano Sonata No. 14 (Beethoven), Op. 27, No. 2 (1801), the "Moonlight" piano sonata by Beethoven, known in French as Sonate au Clair de lune
Flight Facilities is an Australian electronic music production duo that also performs as Hugo & Jimmy. In 2009, they began mixing songs by other artists before crafting their own original material. In 2009, they began mixing songs by other artists before crafting their own original material.
Claude Debussy's classical piece "Clair de Lune" served as the intro to the album's closing ballad, "Ballerina". The version of "Clair de Lune" on Crystal Ball features only DeYoung on piano, with the key changed from D flat to C, as the next track ("Ballerina") begins in C minor.
Sean “Diddy” Combs has been accused in a new lawsuit of dangling a woman from the 17th-floor balcony of an apartment during an altercation.
Describing the scene from which the play gets its name, David Finkle wrote, "Johnny calls the radio station to request the most beautiful music ever written...Claude Debussy’s 'Clair de lune'...floats onto the night air... Johnny, buoyant with love, beckons Frankie to join him at the window and to bask...in the clair de lune.
[n 1] The analyst Katja Pfeifer comments that Verlaine's dictum becomes "a literary reality" in the first set of Debussy's settings of Fêtes galantes: "the rhythm of the verses, his playing with the sound of the language, and explicit textual references to music give the verses themselves the feel of a song".
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