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C'est une misère
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You've selected:
C'est une misère
Sheetmusic to print
57 sheet music found
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1
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51
Il est parti ; c'est une misère - Arie Antiche
#
Voice solo
#
INTERMEDIATE
#
Classical
#
Blangini Felice
#
Il est parti ; c'est une misè
#
Tomplay
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Il est parti ; c'est une misère - Arie Antiche - ALTO
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Voice solo
#
INTERMEDIATE
#
Classical
#
Blangini Felice
#
Il est parti ; c'est une misè
#
Tomplay
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Il est parti ; c'est une misère - Arie Antiche - SOPRANO
#
Voice solo
#
INTERMEDIATE
#
Classical
#
Blangini Felice
#
Il est parti ; c'est une misè
#
Tomplay
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Il est parti ; c'est une misère - Arie Antiche - BARITONE
#
Voice solo
#
INTERMEDIATE
#
Classical
#
Blangini Felice
#
Il est parti ; c'est une misè
#
Tomplay
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Il est parti ; c'est une misère - Arie Antiche - MEZZO
#
Voice solo
#
INTERMEDIATE
#
Classical
#
Blangini Felice
#
Il est parti ; c'est une misè
#
Tomplay
Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Pla...
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Il est parti ; c'est une misère - Arie Antiche - BASS
#
Voice solo
#
INTERMEDIATE
#
Classical
#
Blangini Felice
#
Il est parti ; c'est une misè
#
Tomplay
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Il est parti ; c'est une misère - Arie Antiche - TENOR
#
Voice solo
#
INTERMEDIATE
#
Classical
#
Blangini Felice
#
Il est parti ; c'est une misè
#
Tomplay
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C'est une misère - Arie Antiche - SOPRANO
#
Voice solo
#
INTERMEDIATE
#
Classical
#
Blangini Felice
#
C'est une misère
#
Tomplay
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C'est une misère - Arie Antiche - TENOR
#
Voice solo
#
INTERMEDIATE
#
Classical
#
Blangini Felice
#
C'est une misère
#
Tomplay
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C'est une misère - Arie Antiche - MEZZO
#
Voice solo
#
INTERMEDIATE
#
Classical
#
Blangini Felice
#
C'est une misère
#
Tomplay
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C'est une misère - Arie Antiche - BARITONE
#
Voice solo
#
INTERMEDIATE
#
Classical
#
Blangini Felice
#
C'est une misère
#
Tomplay
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C'est une misère - Arie Antiche - ALTO
#
Voice solo
#
INTERMEDIATE
#
Classical
#
Blangini Felice
#
C'est une misère
#
Tomplay
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C'est une misère - Arie Antiche - BASS
#
Voice solo
#
INTERMEDIATE
#
Classical
#
Blangini Felice
#
C'est une misère
#
Tomplay
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Suite No. 1
Suite No. 1
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Giorgio Mirto
#
Suite No. 1
#
Les Productions d'OZ - Digital
#
SheetMusicPlus
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Le...
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95
Fragments des Fragments du Narcisse, after Paul Valéry, for alto and guitar (mp3)
Fragments des Fragments du Narcisse, after Paul Valéry, for alto and guitar (mp3)
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David Warin Solomons
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Fragments des Fragments du Nar
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David Warin Solomons
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SheetMusicPlus
Alto Voice,Guitar - Level 4 - Digital Download SKU: A0.1402629 By David Warin Solomons. By David Warin Solomons. Classical,Contemporary,Singer/Songwriter...
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Alto Voice,Guitar - Level 4 - Digital Download SKU: A0.1402629 By David Warin Solomons. By David Warin Solomons. Classical,Contemporary,Singer/Songwriter. Full Performance. Duration 300. David Warin Solomons #985853. Published by David Warin Solomons (A0.1402629). This song is based on parts of the poem by Paul Valéry Fragments du Narcisse which explains and ponders the idea of the origin of narcissism (self-love)The words are as followsMais moi, Narcisse aimé, je ne suis curieuxQue de ma seule essence ;Tout autre n’a pour moi qu’un cœur mystérieux,Tout autre n’est qu’absence.Ô mon bien souverain, cher corps, je n’ai que toi !Le plus beau des mortels ne peut chérir que soi... Douce et dorée, est-il une idole plus sainte,De toute une forêt qui se consume, ceinte,Et sise dans l’azur vivant par tant d’oiseaux ?Est-il don plus divin de la faveur des eaux,Et d’un jour qui se meurt plus adorable usageQue de rendre à mes yeux l’honneur de mon visage ?Quitte enfin le silence, ose enfin me répondre,Bel et cruel Narcisse, inaccessible enfant,Tout orné de mes biens que la nymphe défend...Formons, toi sur ma lèvre, et moi, dans mon silence,Une prière aux dieux qu’émus de tant d’amourSur sa pente de pourpre ils arrêtent le jour !...Dieux ! de l’auguste jour, le pâle et tendre resteVa des jours consumés joindre le sort funeste ;Il s’abîme aux enfers du profond souvenir !Hélas ! corps misérable, il est temps de s’unir...Penche-toi... Baise-toi. Tremble de tout ton être !L’insaisissable amour que tu me vins promettrePasse, et dans un frisson, brise Narcisse, et fuit..English translation by D W SolomonsBut I, beloved Narcissus, am curious onlyabout my very beingeverything else has nothing more than a heart of mysteryeverything else is nothing but absenceOnly what I own, my dear sovereign body, is what I haveThe most beautiful of mortals cannot cherish anything more than itselfSweet and golden, is there a more holy idolwithin an entire forest, self-consumed and heldand set in the living azure by so many birds?Is there a more divine gift than the favour of the watersand a more adorable use of the dying daythan to return to me the honour of my face?Please don't be silent, please dare to replyBeautiful and cruel Narcissus, unreachable child owning what I hold dear but guarded by the nymphLet the two of us, you on my lips and I in my silencemake a prayer to the gods that they should be moved by so much lovethat they would keep the day held in its purple sunsetGods! only the pale and tender parts remain of the august day,It joins the fate of other days that were consumedIt goes down into the hell of deep memoryAlas, miserable body, it is time to become as oneBend down - kiss yourself - tremble with all your beingThe intangible love that you promisedhas gone by, and in a shiver, shatters Narcissus and flees.
$5.50
Fragments des Fragments du Narcisse, after Paul Valéry, for alto and guitar
Fragments des Fragments du Narcisse, after Paul Valéry, for alto and guitar
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Piano, Vocal and Guitar
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INTERMEDIATE/ADVANCED
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David Warin Solomons
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Fragments des Fragments du Nar
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David Warin Solomons
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1402627 By David Warin Solomons. By David Warin Solomons. Classical,Contemporary,Singer/Son...
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Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1402627 By David Warin Solomons. By David Warin Solomons. Classical,Contemporary,Singer/Songwriter. Score. 10 pages. David Warin Solomons #985851. Published by David Warin Solomons (A0.1402627). This song is based on parts of the poem by Paul Valéry Fragments du Narcisse which explains and ponders the idea of the origin of narcissism (self-love)The words are as followsMais moi, Narcisse aimé, je ne suis curieuxQue de ma seule essence ;Tout autre n’a pour moi qu’un cœur mystérieux,Tout autre n’est qu’absence.Ô mon bien souverain, cher corps, je n’ai que toi !Le plus beau des mortels ne peut chérir que soi... Douce et dorée, est-il une idole plus sainte,De toute une forêt qui se consume, ceinte,Et sise dans l’azur vivant par tant d’oiseaux ?Est-il don plus divin de la faveur des eaux,Et d’un jour qui se meurt plus adorable usageQue de rendre à mes yeux l’honneur de mon visage ?Quitte enfin le silence, ose enfin me répondre,Bel et cruel Narcisse, inaccessible enfant,Tout orné de mes biens que la nymphe défend...Formons, toi sur ma lèvre, et moi, dans mon silence,Une prière aux dieux qu’émus de tant d’amourSur sa pente de pourpre ils arrêtent le jour !...Dieux ! de l’auguste jour, le pâle et tendre resteVa des jours consumés joindre le sort funeste ;Il s’abîme aux enfers du profond souvenir !Hélas ! corps misérable, il est temps de s’unir...Penche-toi... Baise-toi. Tremble de tout ton être !L’insaisissable amour que tu me vins promettrePasse, et dans un frisson, brise Narcisse, et fuit..English translation by D W SolomonsBut I, beloved Narcissus, am curious onlyabout my very beingeverything else has nothing more than a heart of mysteryeverything else is nothing but absenceOnly what I own, my dear sovereign body, is what I haveThe most beautiful of mortals cannot cherish anything more than itselfSweet and golden, is there a more holy idolwithin an entire forest, self-consumed and heldand set in the living azure by so many birds?Is there a more divine gift than the favour of the watersand a more adorable use of the dying daythan to return to me the honour of my face?Please don't be silent, please dare to replyBeautiful and cruel Narcissus, unreachable child owning what I hold dear but guarded by the nymphLet the two of us, you on my lips and I in my silencemake a prayer to the gods that they should be moved by so much lovethat they would keep the day held in its purple sunsetGods! only the pale and tender parts remain of the august day,It joins the fate of other days that were consumedIt goes down into the hell of deep memoryAlas, miserable body, it is time to become as oneBend down - kiss yourself - tremble with all your beingThe intangible love that you promisedhas gone by, and in a shiver, shatters Narcissus and flees.
$11.00
Ange Flégier: Ma coupe for baritone voice and piano
Ange Flégier: Ma coupe for baritone voice and piano
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Baritone voice, Piano
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INTERMEDIATE
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Ange Flégier
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Ange Flégier: Ma coupe for ba
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Musik Fabrik Music Publishing
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SheetMusicPlus
Baritone Horn TC,Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.533421 Composed by Ange Flégier. Concert,Romantic Period,Standards. 11 pages. M...
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Baritone Horn TC,Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.533421 Composed by Ange Flégier. Concert,Romantic Period,Standards. 11 pages. Musik Fabrik Music Publishing #2913647. Published by Musik Fabrik Music Publishing (A0.533421). A setting of a poem by René de Saint-Prest. Edited by Jared Schwartz and Mary Dibbern.Recorded on Ange Flégier: Mélodies for Bass Voice and Piano.Toccata Classics, 2016. In Eb major Duration: aprox. 3 minutes 30 secondsHolà ! qu’on m’apporte ma coupe,Et qu’on appelle mes amis!Si vous m’en croyez, de tous nos soucisNous allons chasser la hideuse troupe!Il faut nous égayer morbleu!Que dites-vous du vin d’Espagne?Réchauffons vite à son doux feuNos coeurs que le froid gagne!Refrain:À moi, ma coupe, à moi, chère maîtresse!Au nectar qui jaillit de ton sein généreuxLaisse-moi noyer la tristesse,Ah! donne-moi l’ivresseQui rend heureux!Jadis, oui, j'ai fait la folieDe croire à de tendres serments!Quels rêves deçus! quels affreux tourments!Par bonheur, un jour, tout cela s’oublie.Hein? qui donc parle ici d’amour?Au diable! la trompeuse flamme!Ma coupe m’aime, et sans détourC’est une rude femme!
$10.35
Ange Flégier: Ma coupe for bass voice and piano
Ange Flégier: Ma coupe for bass voice and piano
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Low voice, Piano
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INTERMEDIATE
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Ange Flégier
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Ange Flégier: Ma coupe for ba
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Musik Fabrik Music Publishing
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SheetMusicPlus
Bass Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.533422 Composed by Ange Flégier. Concert,Romantic Period,Standards. 11 pages. Musik Fabrik ...
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Bass Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.533422 Composed by Ange Flégier. Concert,Romantic Period,Standards. 11 pages. Musik Fabrik Music Publishing #2913649. Published by Musik Fabrik Music Publishing (A0.533422). A setting of a poem by René de Saint-Prest. Edited by Jared Schwartz and Mary Dibbern.Recorded on Ange Flégier: Mélodies for Bass Voice and Piano.Toccata Classics, 2016. In Db major Duration: aprox. 3 minutes 30 secondsHolà ! qu’on m’apporte ma coupe,Et qu’on appelle mes amis!Si vous m’en croyez, de tous nos soucisNous allons chasser la hideuse troupe!Il faut nous égayer morbleu!Que dites-vous du vin d’Espagne?Réchauffons vite à son doux feuNos coeurs que le froid gagne!Refrain:À moi, ma coupe, à moi, chère maîtresse!Au nectar qui jaillit de ton sein généreuxLaisse-moi noyer la tristesse,Ah! donne-moi l’ivresseQui rend heureux!Jadis, oui, j'ai fait la folieDe croire à de tendres serments!Quels rêves deçus! quels affreux tourments!Par bonheur, un jour, tout cela s’oublie.Hein? qui donc parle ici d’amour?Au diable! la trompeuse flamme!Ma coupe m’aime, et sans détourC’est une rude femme!
$10.35
Claude Debussy: Sérénade for violin and piano
Claude Debussy: Sérénade for violin and piano
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Violin and Piano
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INTERMEDIATE/ADVANCED
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Classical
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Claude Debussy/Robert Orledge
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Claude Debussy: Sérénade for
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano,Violin - Level 4 - Digital Download SKU: A0.534583 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pa...
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Piano,Violin - Level 4 - Digital Download SKU: A0.534583 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. 21 pages. Musik Fabrik Music Publishing #4727479. Published by Musik Fabrik Music Publishing (A0.534583). Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and other completions include La Saulaie and the Nocturne and Poème for violin and orchestra as well as Debussy’s other Poe opera Le Diable dans le Beffroi.Préface en français : Au debut des années 1890, Debussy a composé le debut d’une pièce lyrique en Mi majeur pour violon et piano, peut-être pour accompagner la Nocturne pour violon que Debussy a destinée pour le violoniste belge Eugène Ysaÿe. Après la morte de Debussy en 1918, sa deuxième femme Emma avait l’habitude d’offrir ses pages d’esquisses aux intérpètes et compositeurs en souvenir de son regreté mari. Cette page d’esquisse a été offerte aux compositeur et pianiste cubain Joaquin Nin (1879-1949). Cette page a été mise en vente dans la catalogue de l’antiquaire britannique Lisa Cox en 2010 et malgré que cette esquisse est peut-être le début d‘une mélodie pour contralto et piano, l‘idée dynamique dans la douzième mesure suggère la violon, surtout qu‘elle commence sur la.
$12.95
Shanghai
Shanghai
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Ken Murray
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Shanghai
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4304 Composed by Ken Murray. Score. 8 pages. Les Productions d'OZ - Digital #DZ 4304. Published by Les Pr...
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4304 Composed by Ken Murray. Score. 8 pages. Les Productions d'OZ - Digital #DZ 4304. Published by Les Productions d'OZ - Digital (ZZ.DZ-4304). A tribute to the inspirational Brazilian guitarist Yamandu Costa, Shanghai is Australian slang for a slingshot. This is a term I remember from my childhood in north Queensland where a shanghai made from sticks and rubber was a prized possession for a young boy up to mischief. When pulled back the rubber stretches, and as it snaps back into shape, a stone or other form of ammunition is projected into the distance. This action reminds me of the dynamic and joyful qualities of Yamandu Costa’s performances. Shanghai aims to capture some of the energy, playfulness and musical expression Yamandu brings to everything he plays.Hommage au guitariste brésilien Yamandu Costa, « Shanghai » est un argot australien désignant une fronde. C'est un terme dont je me souviens de mon enfance dans le nord du Queensland, où un « Shanghai » fabriqué à partir de bâtons et de caoutchouc était un bien précieux pour un jeune garçon prêt à faire des bêtises. Lorsqu'il est retiré, le caoutchouc s'étire et, lorsqu'il reprend sa forme, une pierre ou une autre forme de munition est projetée au loin. Cette action me rappelle les qualités dynamiques et joyeuses des performances de Yamandu Costa. Shanghai vise à capturer une partie de l'énergie, du caractère ludique et de l'expression musicale que Yamandu apporte à tout ce qu'il joue.
$5.95
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