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"Ballade pour Adeline" (French for "Ballad for Adeline") is a 1977 instrumental by Richard Clayderman, composed by Paul de Senneville. Paul de Senneville composed the piece as a tribute to his newborn daughter, Adeline. [1] As of 2020, worldwide sales of the recording have reached 22 million copies in 38 countries. [2]
De Senneville and Toussaint collaborated with famous French arrangers such as: Gérard Salesses, Hervé Roy, Bruno Ribera, and Marc Minier. Their main music productions were devoted to Clayderman's music. "Ballade pour Adeline", "A Comme Amour" and "Lettre à ma Mère" are the biggest hits in Clayderman's recordings. These melodies were ...
Richard Clayderman (French pronunciation: [ʁiʃaʁ klɛidɛʁman]; born Philippe Pagès French pronunciation: [filip paʒɛs], 28 December 1953 in Paris) [1] is a French pianist who has released numerous albums including the compositions of Paul de Senneville, Olivier Toussaint and Marc Minier, instrumental renditions of popular music, rearrangements of movie soundtracks, ethnic music, and ...
Cover of 1903 sheet music, with inset photo of singer Pearl Redding "(You're the Flower of My Heart,) Sweet Adeline" is a ballad best known as a barbershop standard. It was first published in 1903, with lyrics by Richard Husch Gerard to music by Harry Armstrong, from a tune he had written in 1896 at the age of 18. According to a 1928 newspaper ...
Actor and bandleader Conrad Janis also did a lot to keep the stride piano music of Waller and James P. Johnson alive. In 1949, as an 18-year-old, Janis put together a band of aging jazz greats, consisting of James P. Johnson (piano), Henry Goodwin (trumpet), Edmond Hall (clarinet), Pops Foster (bass), and Baby Dodds (drums), with Janis on ...
All songs by Kris Delmhorst. "Blue Adeline" – 4:28 "Heavens Hold the Sun" – 3:43 ... acoustic and electric guitar, organ, piano, cello, tambourine, mandolin, bass ...
A judge in Brazil has ordered Adele’s song Million Years Ago to be removed globally from streaming services due to a plagiarism claim by Brazilian composer, Toninho Geraes. Geraes alleges that ...
Her voice was not fashionable during the 1920s for the kind of songs in which she specialized; nevertheless, she became a wildly popular torch singer. [1] A draped-over-the-piano pose became her signature while performing at Billy Rose's Backstage Club in 1925. Morgan became a heavy drinker and was often reportedly drunk during these performances.
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