Nathalie (song)

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Label of the French-speaking single in West Germany (1965)
Text author Pierre Delanoë (1982)

Nathalie is a French-language chanson , the text of which was written by Pierre Delanoë and published in February 1964 by Gilbert Bécaud , who also wrote the music for it. The 4:07 minutes long song appeared first in France, both on vinyl - Single as well as EP at Pathé-Marconi label La voix de son maître . In July 1965 the chanson was published twice in the Federal Republic of Germany; Electrola simultaneously released the French (with the B-side L'Orange ) and a German version with Take your time (Il faut marcher) as the B-side. Nathalie was not Bécaud's most commercially successful record, but it became one of his greatest international successes, which is hardly missing on any of his best-of compilations .

The political context of the formation and release of this love song has led to a reception that beyond the realm of popular music goes far. The years 1964 and 1965 mark the transition from the heyday of the East-West conflict to an opening of the USSR, especially towards France , which was initially very cautious, mainly in the cultural and tourist field . This simultaneity is one reason why the song is still the subject of political and literary studies and classifications, especially in France.

An additional peculiarity of this chanson is that a transformation of the fictional person Nathalie into reality has taken place, as the Romanist Matei Chihaia , who also speaks of the "fascination of Nathalie", put it:

"Through numerous processes, Nathalie steps out of the universe of the song and becomes alive, as it were."

Nathalie is also considered to be a “representative example of the Bécaud system”, who liked to tell simple stories in his songs, but in which concise characters are depicted and which appeal to the listener due to their suitable, dense mood. The fact that the action described in it could be considered realistic is also thanks to the presence as a first-person narrator, which is also typical of Bécaud's vocal lecture .

Text and music

Plot and text

In the form of a first- person narration, the song describes how a young French tourist in wintry Moscow falls in love with his city ​​guide named Nathalie (who was called Natacha in Delanoë's original version of the text). At first it is very formal and distant, leads him to important places such as the Red Square and the Lenin mausoleum , explains in sober words the meaning that these have for the October Revolution (literally “elle parlait en phrases sobres de la révolution d ' octobre ”) , while he addresses her“ beautiful name ”and blonde hair and imagines drinking hot chocolate together in the - probably fictional - Café Puschkin .

In the song, this relationship develops in such a way that both of them go to Nathalie's dormitory at Moscow University after the official tour program , where they are expected by a group of Russian students who want to know a lot about France, which Nathalie has to translate. The mood is noticeably more humid and happy (“Moscou, les plaines d'Elysées et les Champs d'Élysées, on a tout mélangé” - “Moscow, the Ukrainian lowlands and the Champs d'Élysées, everything was mixed up”) , one laughs , drink, sing and dance together. Nathalie herself thaws there too (“plus question de phrases sobres” - “no more sober sentences”) . When her fellow students leave late at night, the Frenchman stays there (“quand la chambre fût vide… je suis resté seul avec mon guide” - “when the room was empty, I stayed there alone with my guide”) . It remains unspoken in this chanson whether - and in what intensity - his crush will be reciprocated by her. In the end, the male protagonist dreams of Nathalie coming to Paris for a return visit, where he - with reversed roles as her city guide - will also familiarize her with sights and cultural assets.

"The Red Square was empty,
the Red Square was white."

According to Delanoë, it took about a year for his draft text to develop into a version that Bécaud accepted; the singer asked the lyricist, to get started, the first "Qu'elle était jolie cette Russian rousse sur la place rouge" ( "she was as pretty, this red-blond Russian woman on Red Square") was, "an atmospheric strong language picture to to invent". This finally came about with the words “La Place Rouge était vide; devant moi marchait Nathalie. … La Place Rouge était blanche, la neige faisait un tapis ” (“ The Red Square was empty; Nathalie marched in front of me. ... The Red Square was white, the snow had spread a carpet on it ”) . Only then was Bécaud satisfied, sat down at his piano and composed the music for it within a few hours.

The linguistic image of the wintry Red Square corresponds to a cliché of the "snowed in Russian landscapes", which has been very widespread in the French novel since the early 19th century and especially since Napoléon's Russian campaign in 1812 ; at the same time, this coldness in 1964 is a metaphor for the political climate and a synonym for communist rule. For Matei Chihaia, this text tells "a complex story, yes, a whole novel and an entire epoch, with astonishingly sparing language and without a single superfluous detail". He only needs two scenes with a total of 42 lines, on the Red Square and in Nathalie's room, whereby he only needs eight short words to explain how the surprising transition from the first to the second place occurs (“J'ai pris son bras, elle a souri ”-“ I took her arm, she smiled ”) . The chanson closes with four lines of retrospective and outlook text, in which the preceding euphoric one of a sadder one (“Que ma vie me semble vide” - “My life seems so empty”) , but at the same time optimistic (“Mais je sais qu ' un jour à Paris ”-“ But I know one day in Paris ”) mood gives way. At the end there is twice the long sung name Nathalie, which is emphasized on the last instead of the usual first syllable. Linguistically, the semantics of this text also play an important role for Chihaia , because it repeatedly "emphasizes the cultural similarities between Eastern and Western Europe".

The text is divided into ten stanzas of four or six lines. Different rhyme forms are used, starting with two stanzas with cross rhyme , followed by one with pair rhyme and the fourth again with cross rhyme. From the fifth stanza - and thus from the point in time at which the action takes place in Nathalie's room and a musical tempo and mood change takes place - the rhyme form changes from verse to verse, also becoming block rhymes, heap rhymes and tail rhymes used before Delanoë returns to the cross rhyme in the final lines. A pair of rhymes, the words “vide” and “guide” (empty and leader), appear four times; this is the case in the first, fourth, eighth and last stanzas, which is close to the textual equivalent of a rondo .

Music and instrumentation

The A minor melody of the song, which combines several elements of French with those of contemporary Russian music and manages without a refrain , moves within a narrow range from the G of the small octave to the bowed c '. It starts at a slow pace. This increases from the point at which the event takes place together with the Russian students in Nathalie's room, like a kazachok , partially underlaid with a background song that gives the impression of a Cossack choir . The tempo of the music here follows the tempo of the events described. For the historian Didier Francfort, rhythm changes and acceleration (here from four-quarter to two-bar ) even represent a central and “recurring feature of Russophilia ” in contemporary French chanson, by which one recognizes the “Russian soul” of music. This impression is also emphasized by the instrumentation, for example by using balalaikas , bayans or accordion and violins . In the song section in which Nathalie marches in front of the Frenchman on the official tour program, drums and trumpets are used, whereby the arranger - probably Bécaud in collaboration with the orchestra leader Raymond Bernard  - after the introduction that sounds more like musette with a slightly jazzy note, Content-wise matching, adding tonal hints of a military band . Vocally this chanson also reflects the wide range of Gilbert Bécaud, who masters both the restrained, quiet, as well as the nervous-spontaneous, ecstatic interpretation that he has nicknames like "Monsieur 100,000 Volt" and "The singing crazy" (le fou chantant) .

The accompaniment on the record comes from the Raymond Bernard Orchestra.

Success and popularity

However , Nathalie did not become a number one hit in France, on the contrary, it initially met with "weak interest" from record buyers. This is of course not surprising, because the very high sales figures "hardly any of the most renowned chansonniers ever achieved, not even Chevalier , Trenet , Gréco , Piaf , Patachou ". On the other hand, the number of newborn girls who received this nickname increased by leaps and bounds in France as early as the second half of 1964. The Small Larousse of the name writes, Nathalie that at that time "with the speed of a tsunami have set" to the top of the most popular girls' names - eight hundred French women bore him - for more than a decade in fashion remained and thus "marked an era " have.

Bécaud 1971 in Hamburg

In the German charts , Bécaud's single in the translation by Kurt Hertha was only represented in 1965, but then for 22 weeks, during which the chanson reached 17th place as the highest position. This success also led to several Bécaud concerts produced by Truck Branss being broadcast on German television under the title Monsieur 100,000 Volt from 1967 . In the Walloon- Belgian Ultratop 50 , the single made it to number 8, in November 1964 it was represented at number 27 in the Dutch Top 30 of the Muziek Expres . The song is also said to have been very popular in some smaller markets such as Turkish or Chilean. In the GDR , Amiga released Nathalie in 1970 as a single (B-side: Et maintenant ), albeit in the spelling Natalie (without h), and in 1980 a long-playing record of the same name.

Allmusic.com calls Nathalie an "enormous hit" and Bécauds "probably the second best-known song" behind Et maintenant , but without further justifying this assessment. On Spotify , the French-language version of the chanson Bécauds is by far the most frequently viewed title (up to the beginning of January 2019: 7.2 million views), followed by Et maintenant (two versions with a total of 5.2 million) and L'important c'est la rose (2.0 million). These are indications of a decades-long, international and cross-generational popularity (“ evergreen ”), as the singer Suzie Kerstgens, born in 1971, stated in 2015: Nathalie is one of those songs “that were written and interpreted before puberty, and that one always does back in his head because they were playing vinyl singles at home with their parents ”.

Context of origin and classification

Politically and historically, Nathalie's success fell into the era of the East-West confrontation of the Cold War , which shortly after the Wall was built (1961) and the Cuban Missile Crisis (1962) with the agreement to stop nuclear tests (1963) - the fourth nuclear power But France never joined - a cautious easing of the international situation was initiated. On the other hand, Franco-Russian relations were at a low point not just since the Indochina War (1946–1954); The anti-Sovietism widespread among the French bourgeoisie corresponded to the attitude of the text author Pierre Delanoë, who wanted to use the chanson to describe "an impossible love in the horror of Soviet rule" without denying the beauty of the country and the positive qualities of ordinary Russians. He was by no means breaking new ground, because a positive portrayal of individual people beyond the Iron Curtain was also discussed by others - and widely accepted in Western Europe. Examples of this are the romance between James Bond and Tatiana Romanova in the film James Bond 007 - Greetings from Moscow from 1963 or the characters from Tevje in Anatevka (premiere of the musical in 1964, from which the British top ten hit If I Were a Rich Man 1967 , sung by Topol ) and Lara Antipowa in Doktor Schiwago (1965) . Another example, this time not based on the stereotype of the “beautiful Russian”, but based on the beauties of the Russian natural area, is the acceptance of Alexandra and her songs such as Sehnsucht / Das Lied der Taiga (1968) in the Federal Republic of Germany. And for the French chanson, Didier Francfort even noted a "natural affection for Russian" which reached its culmination point in the 1960s.

However, the possibility of improving foreign policy relations did not open up until mid-1963 and with the change from Nikita Khrushchev to Leonid Brezhnev at the head of the CPSU (October 1964). Initially, however, it developed predominantly in the cultural and tourist area. In early 1965, the Soviet state agency Intourist placed an advertisement for vacation trips to the USSR in the French daily Le Monde for the first time . In the post- Stalin era, the tour guides there were young, predominantly female, and had an academic background - a reflection of the fictional Nathalie. Only one week after Bécaud's concert in Moscow (see the chapter below) a public jazz session took place there, which had not been possible since Khrushchev had disqualified this genre at the 1962 World Youth Festival as “international degeneration” (cosmopolite) . But it took more than a year for President Charles de Gaulle to make a state visit to Moscow.

In this respect, according to the historian Thomas Gomart , head of the Institut français des relations internationales , this chanson was earlier part of a cautious rapprochement between France of the Fifth Republic and the Soviet Union . However, others contradict Gesa Ufer's assessment that Bécaud has entered into a more or less deliberate symbiosis of poetic love song and the political utopia of freedom of movement that transcends systems and borders . For example, Bertrand de Labbey, Artmedia boss and Bécaud's later editor, formulated that there was “more of a poetic than a political connotation”, especially since the artist, unlike other chansonniers, was “not one of the politically committed singers”. Siegfried Rupprecht interprets Bécaud's songs altogether as “poetic dreams” and “pleadings for friendship, tolerance and universal striving for harmony”, but also not as political chansons. According to Delanoë, Nathalie is said to have initially been “too political” for the singer and unsuitable in view of the Cold War. Bécaud also expressed his amazement that some people have called Nathalie a “communist song”. And his long-time Germany manager at the time and personal friend Hans R. Beierlein is of the opinion that the French chansonnier simply told a story “about normal people in a normal city”. As a side effect, he gave the German hit new impulses, not only in its importance for the career of the singer Alexandra, but also due to the fact that German lyricists saw that one could also use "difficult words like 'October Revolution'" can use in light music.

Musically, Nathalie's success is rather untypical for a year in which, on the one hand, British beat music began its global triumph, and, on the other hand, in Germany's Bravo annual charts in 1964, 15 German and five English-language titles ranked first 20 and thirdly young French rock - and Yéyé singers like Johnny Hallyday , Dick Rivers , Sheila , Eddy Mitchell or Sylvie Vartan , who often gave themselves artist names in English , were musically and lyrically strongly oriented towards the USA . Music consumers and record buyers of the baby boom generation in particular followed these new trends in France, clinging to these youthful idols and no longer to the musical preferences of their parents.

Bécaud brings Nathalie to Moscow

Gilbert Bécaud (1965)

In the course of the reorientation of Soviet foreign policy outlined above, Gilbert Bécaud was officially invited to Moscow by the minister of education, Ekaterina Furzewa , to give a concert in the Great Hall of the Congress Palace at the end of April 1965 ; a television recording was also planned. It can neither be proven nor dismissed out of hand that the relatively fresh popularity of the song was one of the reasons why Bécaud was the first French chansonnier since 1960 (then Charles Aznavour ) to receive such an invitation. In addition, Bécaud has been "since the early 1950s beyond our borders [as] a real ambassador of French chanson," as the later chairman of the French Communist Party , Georges Marchais , summed up in retrospect.

Gilbert Bécaud flew to the Soviet Union on April 22, 1965 and returned to Paris on May 17. Upon his arrival, the artist was assigned an official personal companion who was blond and is said to have carried the name Nathalie. Of course, this did not prevent the Russian censors from giving the performance of this, in their eyes, probably politically explosive chanson for the television program only after Bécaud threatened not to perform if someone wanted to dictate his program, and after thorough text analysis by a state translator.

In Moscow, since the official tour program left enough space for it, according to a traveling reporter from the Paris Match gossip , he was looking for the Café Pushkin invented by Delanoë , but in vain. In fact, a café with this name in the Russian capital was only opened in 1999 on the occasion of Alexander Pushkin's 200th birthday. This then happened with explicit reference to this song, and Bécaud gave Nathalie the best guest of honor at the inauguration ceremony. The French L'Humanité characterized this process as "Resurrection of Nathalie" and headed its article with the words "When the folk song creates a legend".

At the same time as Bécaud's trip to Moscow, the Soviet Foreign Minister Andrei Gromyko visited the French capital for the first time. Because of this, the very media-conscious chansonnier feared that the local press would pay little attention to his tour of the USSR. To counteract this, he invited a whole group of illustrious Parisian personalities (referred to in France as "Tout-Paris") for a few days to his own venture, which 40 to 50 of them assumed. These included Gunter Sachs , Porfirio Rubirosa , Marcel Bleustein-Blanchet , Elsa Martinelli , Pierre Cardin , Ira von Fürstenberg , Marcel Achard , Jacqueline de Ribes , Bernard Buffet , Hélène Rochas , Régine , Curd Jürgens and Bécaud's PR agent Georges Cravenne , who was responsible for this trip made a short film with the title "Nathalie". The real inventor of Nathalie, Pierre Delanoë, was missing in Moscow: Cravenne had not even invited him. Parts of Cravenne's film footage, in which Bécaud strolls across Red Square with a blonde woman, can be found in a Nathalie music video that, for example, the Belgian TV station La Une broadcast much later. The photos of the Paris jet set published in France were full of red flags - in Moscow and Leningrad , where the tour group had made a detour, the streets were decorated with them on the occasion of the parades on May 1st - incidentally, not only met with approval. Shortly after his return, Cravenne received a call from Gaullist Prime Minister Georges Pompidou , who is said to have greeted him with the words "Are you the one who has provoked an international scandal?" However, this criticism must also be seen against the domestic political background of the upcoming presidential elections .

For Matei Chihaia, Gromyko's stay in Paris resulted in a mirror image of Nathalie's story by combining the city's tourist highlights between the official program items (discussions and working lunches with the former ambassador in Moscow, Louis Joxe , President de Gaulle and Prime Minister Pompidou) devoted three quarters of the day and strolled along the Champs-Élysées with its cafés, museums and shops. For the Romanist, this corresponded to what Nathalie should have done on her return visit to the French capital, which is why this is also part of the processes in which the fiction of the song has become reality - less than a year after its publication.

Nathalie's importance in the further course of Bécaud's career

Nathalie accompanied Gilbert Bécaud until the end of his life, and not only because the audience regularly asked him to play the chanson at concerts. In 1983, 19 years after this song was published, he brought out a kind of musical sequel with La fille de Nathalie ; again the text came from Pierre Delanoë. It describes an exchange of letters between the Frenchman and Nathalie's daughter, who was born in 1964 and is studying in Leningrad. The question of the intensity of their relationship in Moscow in 1964, assessed as open above, is thus answered at least in retrospect .

The real Café Pushkin

During 1991, Bécaud temporarily suffered from a crisis of meaning that affected various aspects of his life. He feared that he was only caught up in routine and complained: “I'm fed up, Nathalie can no longer sing - every evening for 30 years! I have to reinvent it to get pleasure from it again ”. These self-doubts did not last very long, however. Two years later, for example, he sang this song at a concert with the choirs of the Army of Ukraine, the former choirs of the Red Army , and in 1999 in Moscow on the occasion of the opening of the now reality Café Pushkin.

Nathalie played an essential role in Bécaud's life for the last time in the first week of August 2001 at the choir festival "Les Fous Chantants d ' Alès-en-Cévennes ". This annual event was devoted exclusively to his songs this time and he had agreed to sing along there. However, he could not keep this promise because the singer was infected with a lung tumor and had been hospitalized a few days earlier. The choir members had to do without him at the final concert at the local Stade Pierre Pibarot . "Nathalie, moved by 1,000 voices, was presented at the climax of a disturbing event". Gilbert Bécaud died only around four months later.

Cover versions and subsequent references

Numerous other interpreters later recorded this song as well, in French for example Adamo , Richard Anthony , Freddy Birset , Patrick Bruel , Yves Duteil , Rummelsnuff , Sanseverino and Shy'm . It has also been translated into several other languages; These include Spanish (also sung by Bécaud, with arrangement and orchestration that differ greatly from the original), English ( Rod McKuen ), Dutch ( Lia Dorana ), Finnish ( Tapani Perttu ), Serbo-Croatian ( Vice Vukov ), German (in addition to Bécaud himself also Peter Alexander and Dietmar Schönherr , Costa Cordalis in the mid-1970s and in the period after German reunification (1990) Keimzeit , Gerhard Schöne , Konrad Wissmann and Klee ), Turkish ( Özdemir Erdoğan ), Italian ( Nicola Arigliano ), Hebrew and Fārsī (Persian). A Russian vocal version doesn't seem to exist.

At the 2014 Winter Olympics in the Russian Sochi published French-Canadian Anne Gibeault one against the homophobic policy under Putin directed film entitled Nathalie de Russie in which gays and lesbians to an instrumental version of Nathalie dance.

Also around half a century after it was published, a court in the United States even made reference to the chanson. In a lawsuit over the textual copyright to Elton John's song Nikita , which the author of a song entitled Natasha had filed for, he justified his 2013 judgment with the following statement: If Delanoë and Bécaud had the title Nathalie in 1964 and the story “Mann ( West) loves woman (East) ”, they could have prevented all later songs and video clips dealing with this topic.

Udo Lindenberg's Natalie from Leningrad , published in 1989, may also contain an intellectual loan from Delanoë's text. At least in the first stanzas it shows a number of plot similarities : Leningrad is also white, Natalie shows him her city, where of course they walk across Nevsky Prospect instead of Red Square, and he falls in love with her.

literature

to this song

  • Matei Chihaia: "Fiction et vérité de" Nathalie "" in: Timo Obergöker / Isabelle Enderlein (eds.): La chanson française depuis 1945. Intertextualité et intermédialité. , Martin Meidenbauer, Munich 2008, ISBN 978-3-89975-135-2 , pp. 185-201
  • "Nathalie" in: Fabien Lecœuvre: 1001 histoires secrètes de chansons. Ed. du Rocher, Monaco 2017, ISBN 978-2-268-09672-8 , p. 423
  • Pierre Saka: La Grande Anthologie de la chanson française. Le Livre de Poche, Paris 2001, ISBN 978-2-253-13027-7 (lyrics on pp. 349–351)

Bécaud biography

  • Annie and Bernard Réval: Gilbert Bécaud. Jardins secrets. France-Empire, Paris 2001, ISBN 978-2-7048-0930-1

on the genre chanson in general

  • Pierre Saka: 50 ans de chanson française. France Loisirs, Paris 1994, ISBN 2-7242-5790-1
  • Gilles Verlant (ed.): L'encyclopédie de la Chanson française. Des années 40 à nos jours. Ed. Hors Collection, Paris 1997, ISBN 2-258-04635-1
  • Gilles Verlant: L'Odyssée de la Chanson française. Ed. Hors Collection, Paris 2006, ISBN 978-2-258-07087-5

Web links

References and comments

  1. ↑ Annie and Bernard Réval, Gilbert Bécaud, 2001, pp. 283 and 287
  2. ↑ In the mid-1960s it was still absolutely customary for international stars to produce German-language versions of their hits themselves; the palette ranged from Paul Anka and Cliff Richard to the Beatles or Dusty Springfield to Charles Aznavour and Gilbert Bécaud. Bear Family Records has released a twelve CD series of such translated cover versions under the joint title "1000 Nadelstiche" (that is the German version of the Searchers hit Needles And Pins ) (see the overview at bear-family.de).
  3. ↑ Matei Chihaia, Fiction et vérité de Nathalie, 2008, p. 201 (German-language summary). - Chihaia was teaching at the Johannes Gutenberg University in Mainz when he was writing his thesis , now (2019) at the Bergische University in Wuppertal .
  4. ↑ Gilles Verlant, L'Odyssée de la Chanson française, 2006, p. 41
  5. ↑ Matei Chihaia, Fiction et vérité de Nathalie, 2008 S. 188th
  6. ↑ a b English and French lyrics at lyricstranslate.com; there also references to other language versions.
  7. ↑ a b c after the interview with Pierre Delanoë on March 28, 2005 at L'Express
  8. ↑ Bécaud sings “Nathalie” live in May 1964 (video on YouTube from the holdings of the Institut national de l'audiovisuel ).
  9. ↑ Bécaud's biographers name another version of the beginning from the phase when Delanoë was still working on the text, namely "La Russe rousse, Natacha des lointaines Russies" , in German for example "The red-blonde Russian, Natascha from the distant Russian landscapes"  - Annie and Bernard Réval, Gilbert Bécaud , 2001, p. 96.
  10. ↑ a b c d e see the article " Nathalie de Gilbert Bécaud " from August 1, 2011 in Figaro
  11. ↑ The fact that Delanoë wanted to allude to the conflict between the Bolsheviks and the White Army in the Russian Civil War with the image of the White Red Square is clearly over-interpreted by Chihaia (Matei Chihaia, Fiction et vérité de Nathalie, 2008, p. 190 f.).
  12. ↑ Charlotte Krauss: La Russie et les Russes dans la fiction française du XIXe siècle (1812–1917): D'une image de l'autre à un univers imaginaire. Brill, Leiden 2007, ISBN 978-94-012-0404-0 , p. 394 ( excerpt from Google Books)
  13. ↑ Matei Chihaia, Fiction et vérité de Nathalie, 2008, p 186/187
  14. ↑ Matei Chihaia, Fiction et vérité de Nathalie, 2008, p 201
  15. ↑ Sheet music of the song for piano at quickpartitions.com
  16. ↑ Didier Francfort: Le tropisme russe de la chanson française de la Liberation à l'effondrement du bloc soviétique. in: French Cultural Studies Vol. 25 (3/4), 2014, p. 344; the author is Professor of Modern History at the Université de Lorraine .
  17. ↑ Matei Chihaia, Fiction et vérité de Nathalie, 2008, p 189
  18. ↑ according to the data sheet at encyclopedisque.fr
  19. ↑ Fabien Lecœuvre, 1001 histoires, 2017, p. 423
  20. ↑ Pierre Saka, 50 ans de chanson française, 1994, p. 78
  21. ^ Article on the name of Nathalie from the Petit Larousse des prénoms (p. 199) at Google Books; Also in the German language Das Großes Lexikon der Givenen (Wissenmedia Verlag, 2008, p. 115) it explicitly states “Known through the chanson Nathalie by Gilbert Bécaud. "
  22. ↑ Translator information according to secondhandsongs.com ; the text of the German version can be found at golyr.de.
  23. ^ Julia Edenhofer: The great oldie lexicon. 2nd Edition. Bastei-Lübbe, Bergisch Gladbach 1992, ISBN 3-404-60288-9 , p. 49; Frank and Ingrid Laufenberg: Hit Lexicon of Rock and Pop. 3 volumes. Ullstein, Berlin 2007, ISBN 978-3-548-36920-4 , p. 169; Günter Ehnert: Hit record: German chart singles 1956–1980. , Taurus Press, Norderstedt 2014, ISBN 978-3-922542-24-7 , p. 27.
  24. ↑ to hitparade.ch
  25. ↑ Overview of the monthly Muziek-Expres rankings 1964 at radiotrefpunt.nl
  26. ↑ according to the information on Bécaud at artisteschartsventes.blogspot.com
  27. ↑ Record cover of the Amiga single at discogs.com
  28. ↑ based on Bécaud's musical biography on allmusic.com
  29. ↑ Kerstgens quote from the information on the occasion of the publication of the Klee album Hello again on kleemusik.de; the singer assigns this chanson to the “Deep Side of Schlager” because it conveys a certain melancholy.
  30. ↑ On February 13, 1960, the “Grande Nation” detonated its first atomic bomb in the Algerian part of the Sahara . - Anne T. Bouchet: La France de la Cinquième République. Ed. Sciences Humaines, Auxerre 2013, ISBN 978-2-36106-040-4 , p. 47
  31. ↑ Didier Francfort: Le tropisme russe de la chanson française de la Liberation à l'effondrement du bloc soviétique. in: French Cultural Studies Vol. 25 (3/4), 2014, p. 340
  32. ↑ Matei Chihaia, Fiction et vérité de Nathalie, 2008, p 192
  33. ↑ “… recent, overwhelmingly female, graduates of pedagogical, literature and foreign language faculties” - Alex Hazanov Hazanov: Porous Empire: Foreign Visitors And The Post-Stalin Soviet State. , Diss. University of Pennsylvania, 2016, especially pp. 127–129.
  34. ^ Announcement in Le Monde of May 5, 1965, p. 16
  35. ^ Anne T. Bouchet: La France de la Cinquième République. Ed. Sciences Humaines, Auxerre 2013, ISBN 978-2-36106-040-4 , p. 47
  36. ↑ Thomas Gomart: Double détente: les relations franco-soviétiques de 1958 à 1964. Publications de la Sorbonne, Paris 2003, pp. 402 and 405 ff.
  37. ↑ Gesa Ufer reads music: Cross-border hit from September 17, 2015 at deutschlandfunkkultur.de
  38. ↑ Gilles Verlant (ed.), L'encyclopédie de la Chanson française, 1997, p. 31
  39. ^ Siegfried P. Rupprecht: Chanson Lexicon. Between art, revolution and show - the songs and interpreters of a thousand feelings. , Lexikon Imprint, Berlin 1999, ISBN 978-3-89602-201-1 , p. 37
  40. ↑ Based on a memory by Delanoë , which was printed in the Berliner Zeitung of April 16, 2004 and on which the community post “ Ost-West-Gassenhauer ” of June 24, 2014 at freitag.de is based.
  41. ↑ Annie and Bernard Réval, Gilbert Bécaud, 2001, p. 128. He later stated that he was “a stage artist, my chansons contain no political messages”. - Article “ Bécaud, curtain ”, obituary of December 19, 2001 in the Liberation .
  42. ↑ Michael Fischer, Fernand Hörner (ed.): German-French music transfers. Song and popular culture - Yearbook of the German Folk Song Archive Freiburg, Volume 57 (2012), p. 253 f. ( Excerpt from Google Books)
  43. ↑ Interview with Beierlein from the taz on December 19, 2001
  44. ↑ Gilles Verlant, L'Odyssée de la Chanson française, 2006, p. 66; similarly also Pierre Saka, 50 ans de chanson française, 1994, p. 31 f.
  45. ↑ Annie and Bernard Réval, Gilbert Bécaud, 2001, p. 100
  46. ^ Charles Aznavour: In a low voice. My life - a chanson. Graf, Berlin 2010, ISBN 978-3-86220-008-5 , p. 208
  47. ↑ Marchais quote (around 1990) from Annie and Bernard Réval, Gilbert Bécaud, 2001, p. 185
  48. ↑ Annie and Bernard Réval, Gilbert Bécaud, 2001, p. 347
  49. ↑ Article "Les camarades du Tout-Paris sont venus pour Gilbert БEKO" [sic!] In Paris Match of May 8, 1965, p. 110 f.
  50. ↑ Annie and Bernard Réval, Gilbert Bécaud, 2001, p. 101
  51. ↑ Article “Les camarades du Tout-Paris sont venus pour Gilbert БEKO” in Paris Match of May 8, 1965, p. 107
  52. ↑ see the article from July 28, 2011 on Café Puschkin at referenceschr.com
  53. ↑ a b “ Quand la chanson popular crée la legend ” in L'Humanité of December 19, 2001, p. 12. This article appeared on the day after Bécaud's death.
  54. ↑ Matei Chihaia, Fiction et vérité de Nathalie, 2008, p 193
  55. ^ Pierre Laforêt: Pierre Delanoë. Seghers, Paris 1986, p. 28
  56. ↑ Video of La Une on YouTube; In this 2:54 minute long film, however, the entire middle section of the chanson is missing. When and by whom the video was produced cannot yet be determined; the film was apparently originally shown on a Scopitone , as the information on YouTube suggests.
  57. ↑ Annie and Bernard Réval, Gilbert Bécaud, 2001, p. 100 f.
  58. ↑ Annie and Bernard Réval, Gilbert Bécaud, 2001, p. 101
  59. ↑ De Gaulle's re-election was threatened by the fact that socialists and communists agreed in the course of this year to support the opposing candidate François Mitterrand from the small center-left Convention des Institutions Républicaines . In fact, Mitterrand forced de Gaulle into a runoff election in December 1965 . - Pierre Bezbakh: Petit Larousse de l'histoire de France. Des origines à nos jours. , Larousse, Paris 2003, ISBN 978-2-03-505369-5 , pp. 746-748; Anne T. Bouchet: La France de la Cinquième République. Ed. Sciences Humaines, Auxerre 2013, ISBN 978-2-36106-040-4 , p. 58
  60. ↑ Matei Chihaia, Fiction et vérité de Nathalie, 2008, p. 194 f.
  61. ↑ Annie and Bernard Réval, Gilbert Bécaud, 2001, p. 208
  62. ↑ French and German text by La fille de Nathalie at lyricstranslate.com; Video on YouTube.
  63. ↑ Annie and Bernard Réval, Gilbert Bécaud, 2001, p. 190
  64. ↑ Annie and Bernard Réval, Gilbert Bécaud, 2001, pp. 208 f.
  65. ↑ Annie and Bernard Réval, Gilbert Bécaud, 2001, pp. 226–235 (quotation p. 234) and 367 f.
  66. ↑ Nathalie in Spanish , to be heard at lalaudios.ru.
  67. ↑ German-language versions of Schöne (2003) and Wissmann (2013) at cover.info
  68. ↑ Article “ Nathalie, la mise en demeure ” from March 20, 2014 at lapresse.ca
  69. ↑ Article by Nikita and Natasha from August 21, 2013 at maw-law.com
This article was added to the list of excellent articles on January 30, 2019 in this version .