| |  “Mozart à Lyon” is a sheet music about tableware. Singers and audiences have enjoyed it since 1991. John Allison’s text about cooking is set to music by Roger Miller for standard mixed choirs. This is a way of creating a new version of the first movement of “Eine kleine Nachtmusik” for a wider audience. This is a delicious sheet music to enjoy. |
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| |  Boris Vian wrote “Mozart avec nous” in 1956. It is a free adaptation of “Marche Turque” written on cha-cha-cha. Maybe it was a kind of revenge because he listened to this music everytime when he was young and he didn’t like Mozart’s music. Marjolaine Ott’s version is based on this melody with the syncopated cha-cha-cha. As a reference to Boris Vian, the melody is sung by every voice. |
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| |  “Mozart à Lyon” is a perfect way to celebrate Lyon and its gastronomy. The first movement need no effort and represents the state of anybody who would have enjoyed the meal without a complete abandon. Lyrics of the first minuet highlight the contrast between Mozart’s childhood, his father placing him under the spotlights and his adulthood without the need of his father. The second minuet reminds us of “Eine kleine Nachtmusik” which was also composed of two minuets. This was proved by a sheet music found in 1943 of which he tore off sheets himself. The third movement is based on the melody of “The Marriage of Figaro:” “Non più andrai.” It was firstly a four-four time melody but it was transformed into a minuet and so it became three four time. This can be seen as a joke from the composer but Mozart did quote it into “Don Giovanni” at the same time as he was writing “Eine kleine Nachtmusik.” Moreover, he composed “A Musical Joke” the same year. Would Mozart have wanted to censor himself by destroying his minuet, considering his creation not serious enough? The last movement written in the same atmosphere than Mozart’s version is an invitation to sing, to dance and to love. |
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| |  These are two popular songs from Romania. They are very simple and can be performed for every occasion. For example “Multi ani” is intended to be sung by heart and on a vigorous beat. You can perform it either after a concert or for a one last song for a choral gathering. Lucien Niresteanu was born in 1947 in Blaj, central Transylvania. He studied at Gheorghe Dima Music Academy, Cluj-Napoca. He teaches music theory and harmony at Transilvania University of Bra?ov and has an important composing activity rewarded with numerous prizes. He is a part of the ASTRA choir association of Bra?ov as a performer, a pianist, an assistant conductor and artistic advisor. |
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