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1819_2 | Background
Vincent van Gogh became an artist at the age of 27, and continued painting until his alleged suicide on July 29, 1890 at the age of 37. Originally based in his home country of the Netherlands, van Gogh spent the last four years of life painting in France, where his greatest artistic innovation occurred. As his mental health, allegedly caused by an epileptic disorder, declined, van Gogh chose to enter a private asylum in Saint-Remy-de-Provence in the South of France. He spent fifteen months there, continuing to develop a distinct artistic style. Then, he moved to the small village of Auvers-sur-Oise in northern France, where he spent the last three months of his life. |
1819_3 | Van Gogh lived in Auvers from May to 27 July 1890. In those seventy days, the artist painted over seventy works, enjoying his newfound autonomy after being institutionalized by producing art fanatically. His main correspondences were with his brother Theo van Gogh whom he wrote to in Paris, and Doctor Paul Gachet, a local homeopathic practitioner who was interested in Post-Impressionist art and kept an eye on the artist. Despite his renewed freedom, his mental health continued to deteriorate, leading to his suicide. In the last two months of van Gogh’s life, the artist engaged in his “most daring stylistic experiments and freed himself from any remaining academic constraints, which had still hampered his work in the previous months”. Notably, he painted twelve double-square canvases of the gardens and fields around Auvers in the last ten days of his life, which displayed some of his most innovative techniques in terms of color and composition. Landscape at Auvers in the Rain was part |
1819_4 | of this collection of works, which were likely meant to be a coherent series, and was painted within the last three days before his suicide. |
1819_5 | Development |
1819_6 | Setting |
1819_7 | Twenty miles northwest of Paris, Auvers was a popular artist colony “discovered” by Barbizon painter Charles-François Daubigny, who lived there in the 1870s. The village attracted those engaged in the Impressionist movement due to its tranquility and the contrast between its natural environment and the nearby capital city. An influential art colony for 30 years, Auvers provided rich landscapes as well as a sharp contrast between the old, quaint cottages and new industrial features, such as the railroad. In Auvers, van Gogh painted portraits, villages, and fields, focusing more on the natural beauty and provincial village life than the new mechanical innovations. Van Gogh largely edited out any signs of industrialization because he was “more interested in finding a new way of painting traditional motifs- whether through achieving a particular effect of light, or through the expressive use of color- than recording the encroachment of modern life”. Therefore, in Landscape at Auvers in |
1819_8 | the Rain, van Gogh chose to focus on the old world charm of the village, from the shaped thatched roofs of the houses to the old cottages, and the natural beauty of Auvers, from the bustling meadows to the dark trees. |
1819_9 | Environmentally, Auvers contrasted significantly with Southern France, leading van Gogh to develop new styles to convey his evolving relationship with the novel natural features of the land, reflecting the transition from the hot and dry climate of the South to the “cooler, rainy weather in the north that nourished gardens in Auvers.” The climate inspired him to capture the falling rain in Landscape at Auvers in the Rain, but it also revived him on a spiritual level, as he wrote that in Auvers there was “beautiful greenery in abundance” and that it was “far enough from Paris… to be in the real countryside” with a sense of “well-being in the air”. The new location also inspired shifts in artistic technique, as van Gogh explored a heightened palette of bright greens and yellows, expressive brushwork, and innovative compositions, creating some of his most daring works.
Influences |
1819_10 | For Landscape at Auvers in the Rain, van Gogh drew inspiration from both French and Japanese art, creating a distinctly personal style. Originally a “peasant painter” who emulated the Dutch greats, van Gogh shifted from dark, somber hues to embracing the vibrant colors of the Post-Impressionist movement. Once he moved to France, van Gogh drew inspiration from the works of innovators such as Monet, Pissarro, and Seurat, and began to experiment with brushstroke and color, emulating the Impressionist and Pointillist styles in his paintings. Importantly, van Gogh was heavily influenced by fellow Post-Impressionist artist Gauguin, who he connected with due to their “submission of nature to the expression of emotion in their works.” Entering his Auvers period, van Gogh, due to his lack of self-confidence and faltering faith in artistic innovation, also sought inspiration from the older generation of French artists such as Delacroix and Daubigny. In particular, his choice of the |
1819_11 | double-square format was inspired by Daubigny, “who had a strong predilection for canvases that were twice as wide as they were high, ideal for picturing sweeping landscapes”. Due to Theo's extensive collection of Japanese art, Vincent was also highly influenced by art from Japan and the Japonisme movement. In Landscape at Auvers in the Rain, van Gogh uses dark, diagonal strokes to represent rain, a technique directly influenced by the woodcut Sudden Shower Over Shin-Ohashi Bridge and Atake by the Japanese artist Hiroshige, which he copied for training in 1887. Through his varied sources of inspiration, van Gogh "wanted somehow to combine past and present, North and South, Rembrandt and Delacroix, Europe and the Far East”. |
1819_12 | Composition |
1819_13 | Van Gogh’s exploration of 50 cm × 100 cm (20 in × 39 in), double-square canvases allowed him to convey the fields surrounding Auvers with a greater sense of boundlessness. In his final letter to Theo he expressed that he was “quite absorbed in the immense plain with wheatfields against the hills” he found in Auvers, a sense of awe he wished to display in his paintings. The artist created twelve landscapes of this size, but curiously, “van Gogh himself said nothing about why he began using these unusual formats" although "the paintings were probably envisioned as a series to be hung and exhibited together”. Landscape at Auvers in the Rain is a primary example of how these large canvases afforded him an expanse to represent the immense stretches of wheatfields that engulfed the village. He engages the viewer by illustrating a high horizon line, creating a birds-eye view, but tilting the foreground so that one feels oneself to be within the grassy hills and looking above them |
1819_14 | simultaneously. The image has a limitless, panoramic depth due to the artist’s “diametrically opposed compositional approach, an exaggerated wide-angle effect from an elevated vantage point, giving a remarkably broad view over the landscape.” Van Gogh’s use of perspective and cropping became bolder and more innovative as he progressed as an artist, especially noteworthy because Landscape at Auvers in the Rain is one of his final works, showing that he continued to evolve the entirety of his career. Fascinated with this striking perspective, graphic design researchers used digital analysis on Landscape at Auvers in the Rain, among other works from the artist’s Auvers period, determining that “in Auvers, van Gogh moved toward simplifying the composition, trading it for an increase in contrast and chromaticity”. |
1819_15 | Interpretations |
1819_16 | Subject |
1819_17 | Landscape of Auvers in the Rain portrays the town of Auvers as well as the wheatfields that surround it. Art historians believe that van Gogh most likely created the painting in a field near Méry-Sur-Oise, based on the angle of Notre Dame d’Auvers in the work. The view looks at the village from the perspective of a trail that cuts through the cemetery and fields surrounding the town. Notably, the houses of Auvers appear half sunken into the landscape surrounding the town, emphasizing the natural world over the provincial town, as the buildings “rhyme with the diagonals of the hillsides outside their doors” bleeding into the countryside. Furthermore, it is notable that van Gogh chose not to populate the town in this image, largely erasing any form of topography or narrative. This leaves the viewer with the saturated, abstracted features of the sky, hills, town, and fields without a context, forcing them to confront van Gogh’s intense brushstrokes and colors. However, critics note that |
1819_18 | “the loss of the particularity does not lead to mere pattern but to an unprecedented emphasis on the brute facts of the landscape and the viewer’s visceral relationship to it,” revealing that by choosing to portray a town’s close relationship to nature through an expressive, abstracted perspective, van Gogh is able to create a more unique, emotionally-engaging landscape than if he merely copied Auvers for artistic accuracy. |
1819_19 | Van Gogh used wheatfields as an important motif in Landscape at Auvers in the Rain, as “in these immense stretches of wheatfields under turbulent skies, he tried to express sadness and extreme loneliness, but at the same time how healthy fortifying the countryside was” in a sense combining his isolation and loneliness with the newfound freedom he found upon moving to Auvers. Noami Margolis Maurer emphasizes spiritual and psychological resonance of van Gogh’s illustration of the storm, noting “van Gogh’s association of wheat with humanity [leads to] his vision of the endlessly rolling landscape as a manifestation of infinity and eternity… for him, these vast fields of grain represented the vulnerable existence of mankind, and the storm epitomized those fateful, uncontrollable, but passing catastrophes which sweep through people’s lives.” Van Gogh's choice of subject matter reflects his own personal struggles with human catastrophe, as he battled mental illness and self-doubt amid his |
1819_20 | desire to create great art. The crows fluttering upward toward the foreground of the image are also an important motif of van Gogh’s Auvers period, notably from the image Wheatfield with Crows, which shows them as an “object of approaching menace and anxiety whose swift advance signifies the fleeting passage of time and the inexorability of death.” Therefore, the wheatfields and crows that surround the town have a deeper meaning, reflecting the cyclical nature of life, sadness, and death, important themes that van Gogh contemplated throughout his career as an artist. |
1819_21 | Artistic Style |
1819_22 | For this piece, critics noted that van Gogh “celebrated the landscape in its own language, echoing the action of rain and wind, growth and decay, rather than observing the refined conventions of the Western painting tradition” revealing the artist's tendency to distort reality in order to create a more expressive representation of his personal feelings. Characteristic of his Auvers period, Landscape at Auvers in the Rain has a richly saturated palette of brilliant yellows and purples and a boldly abbreviated form, abstracting the important elements of the landscape. This simplification of form connects to the broader composition of the work, which emphasizes the natural and emotional aura of the landscape over exact replication. However, his briefness is also indicative of the artist’s “obsessive desire to produce” that came during his Auvers period, likely due to his newfound sense of freedom and autonomy after his institutionalization. In a letter to his brother, van Gogh expressed |
1819_23 | how his move to Auvers impacted his stylistic choices, stating “I already feel that it did me good to go south, the better to see the north. It is as I thought, I see more violet hues wherever they are.” Purples are particularly apparent in the shadowed areas of Landscape at Auvers in the Rain, where they “add a moving resonance to the landscapes and enhance the brilliance of the greens, yellows, and blues” as well as in the sky. These coloristic choices and bold brushstrokes are characteristic of the Post-Impressionist style, as this movement rejected the “concern for the naturalistic depiction of light and color in favor of an emphasis on abstract qualities or symbolic content.” Therefore, van Gogh's bold choices in color and brushwork are indicative of his evolving technique as an increasingly innovative, original artist. |
1819_24 | Stylistically, van Gogh also emulated the Japonisme movement, or the European imitation of traditional Japanese art, in Landscape at Auvers in the Rain. Japanese art was known to appear decorative and stylized. Through Landscape at Auvers in the Rain’s striking birds-eye perspective, patterned areas of color, and rhythmic brushstrokes, van Gogh created this decorative effect. In his depiction of the wheatfields in the painting, van Gogh uses abstraction and linear patterns rather than a naturalistic treatment of the earth, evoking the Japanese prints that he and Theo collected. Furthermore, Japanese prints typically emphasize contour and lack of perspective, emphasizing the patterned elements of an image, which corresponds to van Gogh’s choice to create a rhythmic portrayal of rain droplets, piercing the image. Notably, van Gogh took direct inspiration for this patterned conception of a storm from a print by Utagawa Hiroshige titled Sudden Shower Over Shin-Ohashi Bridge and Atake. |
1819_25 | Hiroshige used vertical lines to create “a device which represents falling rain as multiple diagonal lines superimposed in the landscape”. Using this highly stylized representation of a downpour, van Gogh integrated concepts of Japonisme with French landscape traditions. To critics, Landscape at Auvers in the Rain has a “startling effect, which links [van Gogh] to his own past, to his passion for Japan, and to his continuing engagement with the brute elements''. |
1819_26 | Significance |
1819_27 | Just three days separate Landscape at Auvers in the Rain from van Gogh's alleged suicide. Despite van Gogh's agony, depression, and hopelessness, his painting has sometimes been interpreted as containing signs of hope and renewal, closely connected to the invigoration of spirit van Gogh felt when spending time outdoors. Landscape at Auvers in the Rain expresses the relationship between nature and emotion that is van Gogh’s signature form of expression, as he “imbued his landscapes with personal feelings… in his landscape paintings he wanted to express the emotions that nature evoked in him”. The artist distorted reality to enhance the expression of his emotions in the work. The image’s lack of distinct subject matter and identifying signs of Auvers relate to van Gogh's goal of creating a relationship between nature and emotion. One critic notes that van Gogh’s true innovation with Landscape at Auvers in the Rain is his ability to create an expansive image that transforms a landscape |
1819_28 | into a metaphor, noting that even singular forms in the painting, such as the crows, “lift from the fields and are lost in the vegetation beyond the motifs and subject matter, and as in other paintings of the same format, the painting itself becomes the subject matter… the motif is literally drowned in painting.” Through these stylistic choices, van Gogh urges the viewer to share in the intensity of his emotion and enter his own distorted expression of reality. Van Gogh's efforts to create a new type of landscape are reflected in his own words; in a letter to Theo at the end of his life he stated that he could “see from afar the possibility of a new painting," noting that “before such nature I feel powerless”. |
1819_29 | The rainy storm is central to the emotional expression that Landscape at Auvers in the Rain aims to convey. The layered, horizontal bands reflecting the countryside are interrupted by the rain, which lashes down in great streaks across the canvas, creating a dramatic emotional impact. While these features are abstracted and stylized rather than naturalistic, they still maintain the sense of emotion the artist wished to convey, notably the cycle of human pain and suffering. Van Gogh himself associated the inevitable natural phenomena of rainstorms with the parallel inevitability of anguish throughout the human lifespan. However, the painting is not simply an expression of hopelessness and despair. Van Gogh wrote to Theo that nature was a refuge from his troubles, and specifically, “when suffering is sometimes so great it fills the whole horizon that it takes on the proportions of a hopeless deluge… it is better to look at a wheat field, even in the form of a picture.” To certain |
1819_30 | critics, his use of the bright yellows to signify the wheat-filled countryside was a symbol of comfort for van Gogh amid his distress because “it embodied the ongoing process of life, the irrelevance of the individual's fate in the overall beauty and harmony of the divine order.” |
1819_31 | Reception
While he did not find success during his lifetime, van Gogh's work became increasingly coveted after his death. Encouraged by her art dealer Hugh Blaker, Gwendoline Davies purchase Landscape at Auvers in the Rain in 1920 from the Bernheim-Jeune Gallery in Paris for £2,020 (). Davies and her sister, Margaret, inherited a fortune from their grandfather, David Davies, which they dedicated to amassing one of the largest collections of Impressionist and Post-Impressionist art in Britain during the early twentieth century. Davies brought the painting to Wales, where it was displayed in the music room of her home, Gregynog Hall. Notably, the painting was almost purchased by Japanese art collector Koyata Yamamoto a short time earlier, connecting to the piece's Japonisme elements. The painting was donated to the National Museum of Art in Cardiff, Wales, as part of Davies's bequest in 1952.
References |
1819_32 | 1890 paintings
Paintings by Vincent van Gogh
Paintings in the collection of National Museum Cardiff
Landscape paintings
Rain in art
Val-d'Oise
Water in art |
1820_0 | Faron Young (February 25, 1932 – December 10, 1996) was an American country music producer, musician, and songwriter from the early 1950s into the mid-1980s. Hits including "If You Ain't Lovin' (You Ain't Livin')" and "Live Fast, Love Hard, Die Young" marked him as a honky-tonk singer in sound and personal style; and his chart-topping singles "Hello Walls" and "It's Four in the Morning" showed his versatility as a vocalist. Known as the Hillbilly Heartthrob, and following a singing cowboy film role as the Young Sheriff, Young's singles charted for more than 30 years. In failing health, he committed suicide at 64 in 1996. Young is a member of the Country Music Hall of Fame. |
1820_1 | Early years
Young was born in Shreveport, Louisiana, the youngest of six children of Harlan and Doris Young. He grew up on a dairy farm that his family operated outside the city. Young began singing at an early age, imagining a career as a pop singer. However, after he joined some friends watching Hank Williams perform with nine encores on the Louisiana Hayride, Young switched to country music instead. He performed at the local Optimist Club and was discovered by Webb Pierce, who brought him to star on the Hayride in 1951, then broadcast on KWKH-AM. He graduated from Fair Park High School that year and attended Centenary College of Louisiana.
Career
Young recorded in Shreveport. His first releases were on Philadelphia's Gotham Records. By February 1952, he was signed to Capitol Records, where he recorded for the next ten years. His first Capitol single appeared that spring. |
1820_2 | Young moved to Nashville, Tennessee, and recorded his first chart hit, "Goin' Steady" in October 1952. His career was sidetracked when he was drafted into the United States Army the following month. "Goin' Steady" hit the Billboard country charts while Young was in basic training. It peaked at No. 2, and the US Army Band took Young to replace Eddie Fisher on tours—its first country music singer—just as "If You Ain't Lovin'" was hitting the charts. He was discharged in November 1954.
From 1954 to 1962, Young recorded many honky-tonk songs for Capitol, including the first hit version of Don Gibson's "Sweet Dreams". Most famous was "Hello Walls", a Willie Nelson song Young turned into a crossover hit in 1961. It sold over one million copies, and was awarded a gold disc. |
1820_3 | During the mid-1950s, Young starred in four low-budget films: Hidden Guns, Daniel Boone, Trail Blazer, Raiders of Old California and Country Music Holiday. He appeared as himself in cameo roles and performances in later country music films and was a frequent guest on television shows throughout his career, including ABC-TV's Ozark Jubilee. His band, the Country Deputies, was one of country music's top bands and they toured for many years. He invested in real estate along Nashville's Music Row in the 1960s and, in 1963, co-founded, with Preston Temple, the trade magazine, Music City News. |
1820_4 | The same year, Young switched to Mercury Records and drifted musically, but by the end of the decade he had returned to his sound including "Wine Me Up". Released in 1971, waltz-time ballad "It's Four in the Morning" written by Jerry Chesnut was one of Young's records and his last number one hit, also becoming his only major success in the United Kingdom, where it peaked at No. 3 on the pop charts. By the mid-1970s his records were becoming overshadowed by his behavior, making headlines in 1972 when he was charged with assault for spanking a girl in the audience at a concert in Clarksburg, West Virginia, who he claimed spat on him, and for other later incidents. In the mid-70s, Young was the spokesman for BC Powder. |
1820_5 | Young signed with MCA Records in 1979; the association lasted two years. Nashville independent label Step One Records signed him in 1988 where he recorded into the early 1990s (including a duet album with Ray Price), then withdrew from public view. Though country acts including BR549 were putting his music before audiences in the mid-1990s, Young apparently felt the music industry, which had undergone a revolution of sorts in 1991, had mostly rejected him.
Faron Young's son Robyn followed him into the country music business starting in 1975. Robyn was the main headliner at his father's night club, Faron Young's Jailhouse. In the early 1980s Robyn began touring with his father, performing as an opening act.
Personal life
Young briefly dated Billie Jean Jones before she became the second wife of country music superstar Hank Williams. It was through Young that Jones was first introduced to Williams, who went on to wed Williams in October 1952. |
1820_6 | In 1952, while Young was stationed at Fort McPherson, he met his future wife Hilda Macon, the daughter of an Army master sergeant and the great-granddaughter of Uncle Dave Macon. The couple married two years later in November 1954 after Young was discharged from the Army. They had four children, sons Damion, Robyn and Kevin, and a daughter Alana. |
1820_7 | Young's later life was plagued with bouts of depression and alcoholism. In 1972, Young was arrested and charged with assault for spanking a girl in the audience at a concert in Clarksburg, West Virginia, after claiming she spat on him. Young appeared before a Wood County, West Virginia, justice of the peace and was fined $24, plus $11 in court costs. On the night of December 4, 1984, Young fired a pistol into the kitchen ceiling of his Harbor Island home. When he refused to seek help for his drinking problem, Young and his wife Hilda separated, sold their home, and bought individual houses. When asked at the divorce trial if he feared hurting someone by shooting holes into the ceiling, Young answered "Not whatsoever." The couple divorced after 32 years of marriage in 1986. |
1820_8 | A combination of feeling he had been abandoned by country music and despondency over his deteriorating health were cited as possible reasons that Young shot himself on December 9, 1996. He died in Nashville the following day and was cremated. His ashes were spread by his family over Old Hickory Lake outside Nashville at Johnny Cash and June Carter Cash's home while the Cashes were away. |
1820_9 | Legacy
In 2000, Young was inducted into the Country Music Hall of Fame.
The cat owned by Peanuts character Frieda was named "Faron" after Young, whom Charles Schulz "admired very much", but made few appearances in the strip.
A live performance video clip of Young's "It's Four in the Morning" was the first music video to air on CMT when it launched on March 6, 1983.
A country song by Tex Garrison mentions Faron Young in his opening lyrics with the lines "Got a stack of records when I was one, listened to Hank Williams and Faron Young."
The Bottle Rockets make a wistful reference to Young in their song "Sometimes Found' on their album Brand New Year.
Prefab Sprout recorded a country-tinged song called "Faron Young" on their album Steve McQueen. The chorus repeats the line "You give me Faron Young four in the morning".
Faron's hits "Hello Walls" and "Alone with You" make brief appearances in the Dale Earnhardt biopic, "3". |
1820_10 | The Blazing Zoos' song "Still Up at Five", on their album "Chocks Away" is a sequel/homage to "It's Four in the Morning".
"I Miss You Already" can be heard in the 2005 Johnny Cash biopic Walk The Line. |
1820_11 | CD reissues
Box sets
In 2012, the UK-based Jasmine Records released a budget-minded 2-CD box set entitled Live Fast, Love Hard, Die Young: The Early Album Collection. The set focused on Young's first four albums. Later in 2012, Real Gone Music released a similar compilation which combined Young's first six albums with key singles.
Two years before Young's death, the German independent record label Bear Family Records released a box set entitled The Classic Years 1952–1962, which showcased Young's early recordings for Capitol. It did not include Young's recordings for Mercury or Step One.
Young's final recordings were released on a CD entitled "Are You Hungry? Eat Your Import," by the record label Showboat Records, which was founded by fellow country music star Liz Anderson.
Discography |
1820_12 | Albums
{| class="wikitable"
|-
! Year
! Album
! style="width:45px;"| US Country
! Label
|-
|1957
|Sweethearts or Strangers
| style="text-align:center;"| —
|Capitol T-778
|-
|rowspan=""|1958
|The Object of My Affection
| style="text-align:center;"| —
|Capitol T-1004
|-
|rowspan="3"|1959
|This Is Faron Young!
| style="text-align:center;"| —
|Capitol T-1096
|-
|My Garden of Prayer
| style="text-align:center;"| —
|Capitol T-1185
|-
|Talk About Hits!
| style="text-align:center;"| —
|Capitol T-1245
|-
|1960
|Faron Young Sings the Best of Faron Young
| style="text-align:center;"| —
|Capitol ST-1450
|-
|rowspan="2"|1961
|Hello Walls
| style="text-align:center;"| —
|Capitol ST-1528
|-
|The Young Approach
| style="text-align:center;"| —
|Capitol ST-1634
|-
|rowspan="3"|1963
|All Time Greatest Hits
| style="text-align:center;"| —
|Capitol DT-2037
|-
|This Is Faron
| style="text-align:center;"| —
|Mercury SR-60785
|-
|Aims at the West
| style="text-align:center;"| 11
|Mercury SR-60840
|- |
1820_13 | |rowspan="3"|1964
|Story Songs for Country Folks
| style="text-align:center;"| 7
|Mercury SR-60896
|-
|Country Dance Favorites
| style="text-align:center;"| 7
|Mercury SR-60931
|-
|Story Songs of Mountains and Valleys
| style="text-align:center;"| —
|Mercury SR-60931
|-
|rowspan="2"|1965
|Pen and Paper
| style="text-align:center;"| —
|Mercury SR-61007
|-
|Greatest Hits
| style="text-align:center;"| —
|Mercury SR-61047
|-
|1966
|Sings the Songs of Jim Reeves
| style="text-align:center;"| 18
|Mercury SR-61058
|-
|1967
|Unmitigated Gall
| style="text-align:center;"| 18
|Mercury SR-61110
|-
|rowspan="2"|1968
|Greatest Hits Vol. 2
| style="text-align:center;"| 24
|Mercury SR-61143
|-
|Here's Faron Young
| style="text-align:center;"| 35
|Mercury SR-61174
|-
|rowspan="2"|1969
|I've Got Precious Memories
| style="text-align:center;"| 38
|Mercury SR-61212
|-
|Wine Me Up
| style="text-align:center;"| 13
|Mercury SR-61241
|-
|rowspan="2"|1970
|The Best of Faron Young |
1820_14 | | style="text-align:center;"| 45
|Mercury SR-61267
|-
|Occasional Wife
| style="text-align:center;"| 31
|Mercury SR-61275
|-
|rowspan="2"|1971
|Step Aside
| style="text-align:center;"| 19
|Mercury SR-61337
|-
|Leavin' and Sayin' Goodbye
| style="text-align:center;"| 23
|Mercury SR-61354
|-
|rowspan="2"|1972
|Its Four in the Morning
| style="text-align:center;"| 11
|Mercury SR-61359
|-
|This Little Girl of Mine
| style="text-align:center;"| 17
|Mercury SR-61364
|-
|rowspan="2"|1973
|This Time the Hurtin's on Me
| style="text-align:center;"| 19
|Mercury SR-61376
|-
|Just What I Had in Mind
| style="text-align:center;"| 26
|Mercury SRM1-674
|-
|rowspan="2"|1974
|Some Kind of a Woman
| style="text-align:center;"| 25
|Mercury SRM1-698
|-
|A Man and His Music
| style="text-align:center;"| 45
|Mercury SRM1-1016
|-
|1976
|I'd Just Be Fool Enough
| style="text-align:center;"| —
|Mercury SRM1-1075
|-
|1977
|The Best of Faron Young Vol. 2
| style="text-align:center;"| 32
|Mercury SRM1-1130
|- |
1820_15 | |1978
|That Young Feelin'''
| style="text-align:center;"| —
|Mercury SRM1-5005
|-
|1979
|Chapter Two| style="text-align:center;"| —
|MCA −3092
|-
|1980
|Free and Easy| style="text-align:center;"| —
|MCA – 3212
|-
|rowspan="3"|1987
|Funny How Time Slips Away (with Willie Nelson)
| style="text-align:center;"| —
|Columbia FC – 39484
|-
|Here's to You| style="text-align:center;"| —
|Step One SOR – 0040
|-
|Greatest Hits 1–3| style="text-align:center;"| —
|Step One SOR – 43/44/45
|-
|1988
|Country Christmas| style="text-align:center;"| —
|Step One SOP – 0059
|-
|1990
|Memories That Last (with Ray Price)
| style="text-align:center;"| —
|Step One SOP – 0068
|-
|1993
|Live in Branson| style="text-align:center;"| —
|Laserlight 12137
|} |
1820_16 | Singles
{| class="wikitable"
|-
! rowspan="2"| Year
! rowspan="2"| Single
! colspan="4" | Chart Positions
! rowspan="2"| Album
|-
! style="width:45px;"| US Country
! style="width:45px;"| US
! style="width:45px;"| AU
! style="width:45px;"| CAN Country
|-
|1951
|"Hot Rod Shot Gun Boogie No 2"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|rowspan="3"|singles only
|-
|rowspan="6"| 1952
|"You're Just Imagination"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"I Heard the Juke Box Playing"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"Tattle Tale Tears"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|This Is Faron Young|-
|"Foolish Pride" |
1820_17 | | style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|rowspan="2"|singles only
|-
|"Saving My Tears for Tomorrow"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"Goin' Steady"
| style="text-align:center;"| 2
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|This Is Faron Young|-
|rowspan="4"| 1953
|"I Can't Wait (For the Sun to Go Down)"
| style="text-align:center;"| 5
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|rowspan="3"|singles only
|-
|"That's What I'd Do for You"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"I'm Gonna Tell Santa Claus on You"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| — |
1820_18 | | style="text-align:center;"| —
|-
|"Just Married"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|This Is Faron Young|-
|rowspan="3"|1954
|"They Made Me Fall in Love with You"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|rowspan="2"|singles only
|-
|"Place for Girls Like You"
| style="text-align:center;"| 8
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"If You Ain't Lovin' (You Ain't Livin')"
| style="text-align:center;"| 2
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|rowspan="2"|This Is Faron Young|-
|rowspan="4"|1955
|"Live Fast, Love Hard, Die Young"
| style="text-align:center;"| 1
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"God Bless God" |
1820_19 | | style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|rowspan="2"|singles only
|-
|"Go Back, You Fool"
| style="text-align:center;"| 11
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"It's a Great Life (If You Don't Weaken)"
| style="text-align:center;"| 5
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|rowspan="3"|This Is Faron Young|-
|rowspan="4"|1956
|"I've Got Five Dollars and It's Saturday Night"
| style="text-align:center;"| 4
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"Sweet Dreams"
| style="text-align:center;"| 2
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"Turn Her Down"
| style="text-align:center;"| 9
| style="text-align:center;"| —
| style="text-align:center;"| — |
1820_20 | | style="text-align:center;"| —
|rowspan="7"|singles only
|-
|"I Miss You Already (And You're Not Even Gone)"
| style="text-align:center;"| 5
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|rowspan="4"|1957
|"The Shrine of St. Cecilia"
| style="text-align:center;"| 15
| style="text-align:center;"| 96
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"Love Has Finally Come My Way"
| style="text-align:center;"| 12
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"Vacation's Over"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"Locket"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|rowspan="4"|1958
|"I Can't Dance"
| style="text-align:center;"| —
| style="text-align:center;"| — |
1820_21 | | style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"Alone with You"
| style="text-align:center;"| 1
| style="text-align:center;"| 51
| style="text-align:center;"| —
| style="text-align:center;"| —
|Sings the Best|-
|"That's the Way I Feel"
| style="text-align:center;"| 9
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|rowspan="2"|singles only
|-
|"Last Night at a Party"
| style="text-align:center;"| 20
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|rowspan="3"|1959
|"That's the Way It's Gotta Be"
| style="text-align:center;"| 14
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|rowspan="4"|Sings the Best|-
|"Country Girl"
| style="text-align:center;"| 1
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"Riverboat"
| style="text-align:center;"| 4 |
1820_22 | | style="text-align:center;"| 83
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|rowspan="3"|1960
|"Your Old Used to Be"
| style="text-align:center;"| 5
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"There's Not Any Like You Left"
| style="text-align:center;"| 21
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|rowspan="3"|Hello Walls|-
|"Forget the Past"
| style="text-align:center;"| 20
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|rowspan="2"|1961
|"Hello Walls"
| style="text-align:center;"| 1
| style="text-align:center;"| 12
| style="text-align:center;"| 69
| style="text-align:center;"| —
|-
|"Backtrack"
| style="text-align:center;"| 8
| style="text-align:center;"| 89
| style="text-align:center;"| 70
| style="text-align:center;"| —
|rowspan="2"|The Young Approach|-
|rowspan="3"|1962
|"Three Days" |
1820_23 | | style="text-align:center;"| 7
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"The Comeback"
| style="text-align:center;"| 4
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|single only
|-
|"Down by the River"
| style="text-align:center;"| 9
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|All Time Greatest Hits|-
|rowspan="4"|1963
|"The Yellow Bandana"
| style="text-align:center;"| 4
| style="text-align:center;"| 114
| style="text-align:center;"| 65
| style="text-align:center;"| —
|rowspan="3"|This Is Faron|-
|"I've Come to Say Goodbye"
| style="text-align:center;"| 30
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"We've Got Something in Common"
| style="text-align:center;"| 13
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|- |
1820_24 | |"You'll Drive Me Back (Into Her Arms Again)"
| style="text-align:center;"| 10
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|rowspan="2"|singles only
|-
|rowspan="4"|1964
|"Keeping Up with the Joneses" (with Margie Singleton)
| style="text-align:center;"| 5
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"Old Courthouse"
| style="text-align:center;"| 48
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|Story Songs for Country Folks|-
|"Another Woman's Man – Another Man's Woman"(with Margie Singleton)
| style="text-align:center;"| 38
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|single only
|-
|"My Friend on the Right"
| style="text-align:center;"| 11
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|Story Songs of Mountains and Valleys|- |
1820_25 | |rowspan="3"|1965
|"Walk Tall"
| style="text-align:center;"| 10
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|rowspan="2"|Greatest Hits|-
|"Nothing Left to Lose"
| style="text-align:center;"| 34
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"My Dreams"
| style="text-align:center;"| 14
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|rowspan="4"|Unmitigated Gall|-
|rowspan="2"|1966
|"You Don't Treat Me Right"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"Unmitigated Gall"
| style="text-align:center;"| 7
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|rowspan="2"|1967
|"I Guess I Had Too Much to Dream Last Night"
| style="text-align:center;"| 48
| style="text-align:center;"| — |
1820_26 | | style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"Wonderful World of Women"
| style="text-align:center;"| 14
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|Greatest Hits Vol. 2|-
|rowspan="2"|1968
|"She Went a Little Bit Farther"
| style="text-align:center;"| 14
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 32
|rowspan="2"|Here's Faron Young|-
|"I Just Came to Get My Baby"
| style="text-align:center;"| 8
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 1
|-
|rowspan="3"|1969
|"I've Got Precious Memories"
| style="text-align:center;"| 25
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|I've Got Precious Memories|-
|"Wine Me Up"
| style="text-align:center;"| 2
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 3
|rowspan="2"|Wine Me Up|- |
1820_27 | |"Your Time's Coming"
| style="text-align:center;"| 4
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|rowspan="3"|1970
|"Occasional Wife"
| style="text-align:center;"| 6
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 15
|rowspan="2"|Occasional Wife|-
|"If I Ever Fall in Love (With a Honky Tonk Girl)"
| style="text-align:center;"| 4
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 2
|-
|"Goin' Steady"
| style="text-align:center;"| 5
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 8
|rowspan="2"|Step Aside|-
|rowspan="3"|1971
|"Step Aside"
| style="text-align:center;"| 6
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 11
|-
|"Leavin' and Sayin' Goodbye"
| style="text-align:center;"| 9
| style="text-align:center;"| —
| style="text-align:center;"| — |
1820_28 | | style="text-align:center;"| 11
|Leavin' and Sayin' Goodbye|-
|"It's Four in the Morning"
| style="text-align:center;"| 1
| style="text-align:center;"| 92
| style="text-align:center;"| 9
| style="text-align:center;"| 1
|It's Four in the Morning|-
|rowspan="2"|1972
|"This Little Girl of Mine"
| style="text-align:center;"| 5
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 3
|rowspan="2"|This Little Girl of Mine|-
|"Woman's Touch"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|rowspan="2"|1973
|"She Fights That Lovin' Feeling"
| style="text-align:center;"| 15
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 6
|This Time The Hurtin's on Me|-
|"Just What I Had in Mind"
| style="text-align:center;"| 9
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 9 |
1820_29 | |Just What I Had in Mind|-
|rowspan="3"|1974
|"Some Kind of a Woman"
| style="text-align:center;"| 8
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 6
|rowspan="2"|Some Kind of a Woman|-
|"The Wrong in Loving You"
| style="text-align:center;"| 20
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 22
|-
|"Another You"
| style="text-align:center;"| 23
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|A Man and His Music|-
|rowspan="2"|1975
|"Here I Am in Dallas"
| style="text-align:center;"| 16
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 49
|rowspan="2"|The Best of Faron Young Vol. 2|-
|"Feel Again"
| style="text-align:center;"| 21
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 15
|-
|rowspan="2"|1976
|"I'd Just Be Fool Enough" |
1820_30 | | style="text-align:center;"| 33
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|I'd Just Be Fool Enough|-
|"(The Worst You Ever Gave Me Was) The Best I Ever Had"
| style="text-align:center;"| 30
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|The Best of Faron Young Vol. 2|-
|1977
|"Crutches"
| style="text-align:center;"| 25
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|rowspan="2"|That Young Feelin'|-
|1978
|"Loving Here and Living There and Lying in Between"
| style="text-align:center;"| 38
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|rowspan="2"|1979
|"The Great Chicago Fire"
| style="text-align:center;"| 67
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 30
|rowspan="2"|Chapter Two|-
|"That Over Thirty Look" |
1820_31 | | style="text-align:center;"| 69
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 68
|-
|rowspan="2"|1980
|"(If I'd Only Known) It Was the Last Time"
| style="text-align:center;"| 56
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| 74
|Free and Easy|-
|"Tearjoint"
| style="text-align:center;"| 72
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|rowspan="3"|singles only
|-
|rowspan="2"|1981
|"Until the Bitter End"
| style="text-align:center;"| 88
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"Pull Up a Pillow"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|1982
|"He Stopped Loving Her Today"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| — |
1820_32 | | style="text-align:center;"| —
|"Black Tie Country"
|-
|rowspan="2"|1988
|"Stop and Take the Time"
| style="text-align:center;"| 100
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"Here's to You"
| style="text-align:center;"| 87
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|1989
|"It's Four in the Morning"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|Greatest Hits 1–3|-
|1991
|"Just an Ol' Heartache"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|single only
|-
|rowspan="3"|1992
|"Memories That Last" (with Ray Price)
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|rowspan="2"|Memories That Last|-
|"Too Big to Fight" (with Ray Price) |
1820_33 | | style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|-
|"Christmas Song"
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
| style="text-align:center;"| —
|Country Christmas|} |
1820_34 | B-sides
Guest singles
Music videos
Filmography
1956 Hidden Guns1956 Daniel Boone, Trail Blazer1957 Raiders of Old California1958 Country Music Holiday1966 Second Fiddle to a Steel Guitar1966 Nashville Rebel1967 What Am I Bid?1967 The Road to Nashville1977 That's CountryFilm depiction
Actor Fred Parker Jr. portrayed Young in the biopic I Saw the Light'', released on March 25, 2016.
Notes
References
., p. 606-7
Diekman, Diane. "Live Fast, Love Hard: The Faron Young Story." Urbana and Chicago: University of Illinois Press, 2007, p. 27
External links
Faron Young at the Country Music Hall of Fame
Faron Young biography and links
Faron Young biography at CMT.com
Faron Young obituary at CountryStandardTime.com |
1820_35 | 1932 births
1996 deaths
1996 suicides
American country singer-songwriters
American male singer-songwriters
Country Music Hall of Fame inductees
Grand Ole Opry members
Musicians from Shreveport, Louisiana
Fair Park High School alumni
Suicides by firearm in Tennessee
20th-century American singers
Singer-songwriters from Louisiana
Capitol Records artists
Mercury Records artists
Country musicians from Louisiana
Country musicians from Tennessee
20th-century American male singers
Singer-songwriters from Tennessee |
1821_0 | Charles Delange ( –1871) was a 19th-century French chansonnier.
He has written many songs of the nineteenth century repertoire as well as an operetta in 1856, Un monsieur bien servi! presented at Théâtre Déjazet.
Works |
1821_1 | Les Aventures d'une cane, ditty curiosité musicale, music by Louis Clapisson, 1834
Le Bureau de placement !, humorous scene, music by Charles-François Plantade, 1843
Le Tombeau des secrets !, ditty, music by Plantade, 1843
Beloiseau le modèle !, humorous scene, music by Pierre-Julien Nargeot, 1844
Ce que disent les Cloches !, romance, music by Plantade, 1844
Gennaro ou l'Enfant du môle, mélodie, music by , 1844
Monsieur mon-filleul !, ditty, music by Nargeot, 1844
Le Capitaine Craquefort !, voyage de circumdivagation, music by Plantade, 1846
Le Galop de la vie !, music by Plantade, 1846
Histoire de Cendrillon racontée par le caporal Gobin à son retour d' Afrique, sur l'air de Ramonez-ci, ramonez-là !, ditty, music by Plantade, 1846
Le Souffleur du théâtre !, ditty with spoken ad libitum, music by Plantade, 1846
Les Rues de Paris ou le nouveau conducteur parisien !, song, music by Plantade, 1846 |
1821_2 | Riquet à la houppe ou l'avantage d'avoir du toupet !, on the tune of Cadet-Roussel est bon enfant, music by Plantade, 1846
Le petit Chaperon rouge ou les vrais amis sont les gens impolis !, on the tune of Bonjour mon ami Vincent !, music by Plantade, 1846
Les Désagréments, de Pyrame et Thisbe dans leurs amours !, on the tune of Catacoua, music by Parizot, 1847
Le Jugement de Salomon ou l'enfant changé en nourrice, cause célèbre sur l'air de Allez-vous en, gens de la noce, music by Albert Clément, 1847
Le petit Poucet ou l'art de s'enrichir !, music by Plantade, 1847
Album de huit mélodies pour voix et piano, with Hippolyte Guérin, music by Clapisson, 1848
Le Corricolo, music by Clapisson, 1848
Ma Cunégonde ou l'heure du berger !, sérénade, music by Lhuillier, 1848
La Tirelire à Jacquot, music by Clapisson, 1848
Tout tourne au moulin, music by Clapisson, 1848
La Poste aux Commissions ou les Relais d'hommes, scène comique, lyrics and music, 1848 |
1821_3 | Album de dix mélodies pour voix et piano, with Xavier Eyma and Francis Tourte, 1849
L'Ane-à-Baptiste ou Moucheron à la représentation du Prophète, parody on the tune of Catacoua, 1849
Avez-vous vu mon Parapluie !, perquisition désespérée, music by Plantade, 1849
Azor ou le bichon de la marquise !, ditty, music by Plantade, 1849
Le Couvreur du Théâtre Français, ou Adrienne Lecouvreur, racontée par Mme Godiche, chanson comique on the tune of Nicodème, dans la lune ou l'autre pour la p'tit' Isabelle, 1849
La Fée aux blonds cheveux !, fabliau, music by Lhuillier, 1849
La Fête à Suzon !, song in three couplets, music by Lhuillier, 1849
Le Mari au bal, duettino, 1849
Pataud !, music by Lhuillier, 1849
L'Âne savant ou le plus amoureux de la société !, music by Charles-François Plantade, 1850
Le Nom de ta mère, music by Clapisson, 1850
Le Perroquet indiscret !, ditty, music by Plantade, 1850
Les Soupirs de Maclou !, ditty, music by Plantade, 1850 |
1821_4 | Angélique et Médor, Épopée chevaleresque on the tune Il pleut, il pleut bergère, 1851
Le Bout de l'oreille, fantaisie, ion the tune j'ai vu la manière en passant, 1851
Le Caporal aux ombres chinoises !, scène comique, 1851
Le Furet du bois joli, ditty, 1851
Le Marchand forain, air bouffe, music by Clapisson, 1851
Si j'étais t'invisible !, ditty, music by Lhuillier, 1852
Le Bal des fleurs !, fabliau, music by Edmond Lhuillier, 1853
Le Duel de Binochet !, ditty, music by Plantade, 1853
Le Groom à la broche ou les abominations du château de Kercassbec !, ditty, music by Plantade, 1853
L'Hirondelle du quartier ou la boite aux lettres !, music by Plantade, 1853
Les Bâtons de vieillesse, story, 1854
La Dot du berger Richard, ditty, music by Henrion, 1854
La Mère aux Oiseaux, ditty, 1854
Une Feuille de rose !, romance, music by Edmond Lhuillier, 1854
Pierrot le poltron !, scène comique, music by Lhuillier, 1854
Une Chaumière et son cœur, ditty, music by Émile Durand, 1855 |
1821_5 | A bas les almanachs !, ditty, music by Émile Durand, 1856
La fête de l'orpheline, romance, music by Durand, 1856
Un monsieur bien servi!, operetta, music by Nargeot, 1856
À la Houppe ! Là, houp, là ! Ou le coiffeur à la mode, music by Nargeot, 1857
Les noms propres, ditty, music by Durand, 1857
L'Arbre mort, melody, music by Durand, 1857
Le Bonheur ignoré, romance, music by Durand, 1857
La Boutique à Jean-Pierre, humorous ditty, music by Durand, 1857
L'Écheveau de fil, bluette, music by Durand, 1857
Une Femme à vapeurs ! Locomotive conjugale à haute pression, music by Parizot, 1857
L'incomparable, Mirobolanpouff, parade charlatanesque, music by Vialon, 1857
Jeanne s'amuse en chemin, ditty, music by Clapisson, 1857
J'trouve ça bête ! (Petite revue pour rire), 1857
Manon, Manette ! Lamentation champêtre, music by Parizot, 1857
Othello et Desdémone !, duo bouffe, music by Henrion, 1857
Le Père Pince-tout, garde champêtre !, humorous scene, music by Parizot, 1857 |
1821_6 | Le Père Sabremioche ! Bousculade amicale d'un vieux grognard, music by Parizot, 1857
Un Puits de mélodie !, ode-scène, music by Parizot, 1857
La Vedette surprise, music by Durand, 1857
L'Anglais champêtre !, humorous scene, music by Henrion, 1858
Marchand de coco !, ditty, music by Parizot, 1858
Capable de tout !, village ditty, music by Parizot, 1858
Le Chevalier du lustre !, music by Parizot, 1858
Cœur d'or, historiette, music by Henrion, 1858
Une Âme au ciel, melody for soprano or tenor, music by Durand, 1858
L'Homme machine vivant et respirant par le sifflet, music by Parizot, 1858
Mr Grognon !, boutade humoristique, music by Parizot, 1858
La Musique pour rire. Frontispice lyricocaricatural, music by Durand, 1858
Plus d'Accidents ! Assurance universelle, music by Vialon, 1858
Quand les poules auront des dents, music by Clapisson, 1858
La Servante de Molière !, impressions dramatiques, music by Parizot, 1858 |
1821_7 | Tout en Plan ! Plan net de notre planète, music by Parizot, 1858
Le Toutou de Mylord !, complainte, music by Parizot, 1858
Le Parrain d'une cloche. Carillon, music by Clapisson, 1859
Un Chevau-léger du roi ou mon portrait d'autrefois, music by Parizot, 1859
Le Crime de Lustucru !, cause célèbre, music by Parizot, 1859
Heureux en Femmes !, ditty, music by Henrion, 1859
Sur les bords de l'Ohio, chanson nègre, music by Parizot, 1859
Ah ! Si, j'étais l' Amour !, music by Paul Henrion, 1860
Le Biberon musical !, harmoni-pompe à jet continu, music by Antoine Vialon, 1860
Le Docteur Moriko !, music by Robillard, 1860
Philémon et Baucis !, humorous scene, music by Robillard, 1860
Le Portrait de la grand'mère, music by Antoine-Louis Malliot, 1860
Sœur Anne !, fantasy, music by Henrion, 1860
Le Bas de Madeleine, romancette, music by Étienne Arnaud, 1861
Ce que c'est que d'avoir un Nez !, ditty, music by Parizot, 1861
Le Chemin de l'enfant, melody, music by Durand, 1861 |
1821_8 | Coquelicot-ci coquelicot là, historiette, music by Émile Ettling, 1861
Eh ! Dam ! L'on est ben Aise !, music by Robillard, 1861
Madame Flafla ! Photographie d'une poupée, music by Parizot, 1861
Madame Plumet et sa demoiselle !, humorous scene, music by Robillard, 1861
Les Malheurs d'un hanneton !, bourdonnement musical, music by Parizot, 1861
Les Mémoires d' une bergère !, confidence, music by Parizot, 1861
Le Nid du berger !, music by Robillard, 1861
L'Ognon de ma tante !, humorous scene, music by Parizot, 1861
Le petit Chinois Joli ! Impressions de voyage, music by Parizot, 1861
La Petite aux yeux bleus !, melody, music by Parizot, 1861
V'la' c'que c'est qu' d'avoir des Yeux !, ditty, music by Parizot, 1861
Les cent Amoureux de Suzon !, ditty, music by Olivier, 1862
Charmaillou au cirque !, humoirous scene from Auvergne, music by Victor Robillard, 1862
Le Dessus du panier !, ditty, music by Olivier, 1862
Madame Batifol en Suisse, humorous scene, music by Ettling, 1862 |
1821_9 | Le Marchand de parapluies !, ditty, music by Olivier, 1862
Mes Yeux de 15 ans !, ditty, music by Robillard, 1862
Mme Fontaine et Mr Robinet !, duet for a lonely man, music by Olivier, 1862
Ordonnance, concernant les chiens (Protestation à 4 pattes), music by Olivier, 1862
Le p'tit Marquis de la Gobinette, ou : Je n'en suis pas plus sur pour ça !, music by Robillard, 1862
Quand on a tout perdu ! Consolations aux affligés, music by Robillard, 1862
Quatre Hommes et un caporal ! Histoire d'une patrouille, music by Olivier, 1862
La Romance du bœuf gras !, music by Olivier, 1862
Saint Pierre ou les chefs du Paradis !, légende évangélique for barytone or bass, music by Olivier, 1862
Le Valet de cœur !, humorous ditty, music by Moniot, 1862
L'Amoureuse du régiment !, ditty, music by Olivier, 1863
Un Baiser à la dame !, souvenirs, music by Victor Parizot, 1863
Coco et la grise !, ditty, music by Robillard, 1863
L'École buissonnière !, ditty, music by Olivier, 1863 |
1821_10 | Le Fantassin malade ou les lieux qui m'ont vu naître !, exposé des besoins de la vie militaire, music by Olivier, 1863
Les Gars normands !, ronde normande, music by Olivier, 1863
Une Mouche sur le nez !, humorous ditty, music by Eugène Moniot, 1863
La Princesse Finette !, ditty, music by Robillard, 1863
Quand on a de Ça, ditty, music by Ettling, 1863
Tic et couic ou la Noce de l'épicier !, balançoire, music by Olivier, 1863
Le Vin tendre !, song, music by Olivier, 1863
L'Anglais à marier !, humorous spoken song, music by Olivier, 1864
La Chandelle !, scie, music by Olivier, 1864
Comme y t' fait, fais-li !, proverbe, music by Olivier, 1864
Adieu la Marguerite !, for mezzo-soprano, music by Louis Diémer, 1865
Ça n'engage à rien !, ditty, music by August Olivier, 1865
Aïe donc, mon Bidet !, ditty, music by Auguste Olivier, 1866
Je ne sais plus, ce que je veux dire !, ditty, music by Olivier, 1866
La Moutarde, ditty, music by Olivier, 1866 |
1821_11 | L'Objet aimé !, première passion, music by Olivier, 1866
Le Sergent bel œillet !, military ditty, music by Olivier, 1866
Bonsoir, ma Biche !, ditty, music by Olivier, 1867
Du Monde à dîner !, ditty, music by Olivier, 1867
J'aime les cocottes, humorous ditty, music by Ettling, 1867
Voilà l'Plaisir, Mesdames !, music by Lhuillier, 1868
Les Amours en garnison !, ditty, music by Victor Robillard, 1872
Le Sabot cassé !, ditty, set in music in 1907 by F. Bonoldi
La Bavarde'', ditty, undated |
1821_12 | External links
Charles Delange on Data.bnf.fr
French chansonniers
1871 deaths |
1822_0 | The Swiss Air Force (; ; ; ) is the air component of the Swiss Armed Forces, established on 31 July 1914 as part of the army and in October 1936 as an independent service.
In peacetime, Dübendorf is the operational air force headquarters. The Swiss Air Force operates from several fixed bases (see current status) but its personnel are also trained to carry out air operations from temporary highway airstrips. In case of crisis or war, several stretches of road are specially prepared for this option.
History |
1822_1 | Early years |
1822_2 | The first military aviation in Switzerland took the form of balloon transport, pioneered by Swiss balloonist Eduard Spelterini, but by 1914 there was still little official support for an air corps. The outbreak of World War I changed opinions drastically and cavalry officer Theodor Real was charged with forming a flying corps. He commandeered three civilian aircraft at Bern's airfield and set about training the initial nine pilots at a makeshift airfield close to Wankdorf Stadium, later moving to a permanent home at Dübendorf. Switzerland remained neutral and isolated during the conflict, and the air corps confined its activities to training and exercises, reconnaissance and patrol. It was only with the worsening international situation in the 1930s that an effective air force was established at great cost, with up-to-date Messerschmitt Bf 109 and Morane-Saulnier D‐3800 fighters ordered from Germany, Italy and France respectively (the Moranes were licence-built in Switzerland). The |
1822_3 | Swiss Air Force as an autonomous military service was created in October 1936. |
1822_4 | World War II
Although Switzerland remained neutral throughout World War II, it had to deal with numerous violations of its airspace by combatants from both sides – initially by German aircraft, especially during their invasion of France in 1940. Zealous Swiss pilots attacked and shot down eleven German aircraft, losing two of their own, before a threatening memorandum from the German leadership forced General Guisan to forbid air combat above Swiss territory. |
1822_5 | Later in the war, the Allied bomber offensive sometimes took US or British bombers into Swiss airspace, either damaged craft seeking safe haven or even on occasions bombing Swiss cities by accident. Swiss aircraft would attempt to intercept individual aircraft and force them to land, interning the crews. Only one further Swiss pilot was killed during the war, shot down by a US fighter in September 1944. From September red and white neutrality bands were added to the wings of aircraft to stop accidental attacks on Swiss aircraft by Allied aircraft. |
1822_6 | From 1943 Switzerland shot down American and British aircraft, mainly bombers, overflying Switzerland during World War II: six by Swiss air force fighters and nine by flak cannons, and 36 airmen were killed. On 1 October 1943 the first American bomber was shot near Bad Ragaz: Only three men survived. The officers were interned in Davos, airmen in Adelboden. The representative of the U.S. military in Bern, U.S. military attaché Barnwell R. Legge, instructed the soldiers not to flee so as to allow the U.S. Legation to coordinate their escape attempts, but the majority of the soldiers thought it was a diplomatic ruse or did not receive the instruction directly. |
1822_7 | On 1 October 1944 Switzerland housed 39,670 internees in all: 20,650 from Italy, 10,082 from Poland, 2,643 from the United States, 1,121 from the United Kingdom (including five Australians), 822 from the Soviet Union and 245 from France. In September the Office of Strategic Services (OSS) was commissioned by the U.S. supreme command to organize the escapes of 1,000 American internees, but the task was not effectively accomplished before late winter 1944/45. Soldiers who were caught after their escape from the internment camp, were often detained in the Wauwilermoos internment camp near Luzern.
Official Swiss records identify 6,501 airspace violations during the course of the war, with 198 foreign aircraft landing on Swiss territory and 56 aircraft crashing there. |
1822_8 | With the threat of WW2 and the possible need for the army and civilian population to retreat into the mountains (Reduit) as proposed by General Guisan, it was clear that the army air force needed the ability to attack enemy ground forces in the mountains. To practice this Axalp was selected. After WW2 Ground attack by jet aircraft was practiced at Axalp, including strafing and bombing exercises.
During the Cold War, military liaison officers from western, eastern and non-aligned nations were invited to the screenings. Nowadays Axalpfliegerschiessen ("Airshow Axalp") is a performance by the luftwaffe for anyone interested. It is the only event where everybody may have a look at a live exercise at 1,700 m (5,600 ft) above sea level. The use of helicopter ops at high altitudes, search & rescue and firefighting demonstrations also have become a large part of the Axalp air show.
Cold War |
1822_9 | After World War II, the service was renamed Airforce and Anti-Aircraft Command (). In 1966, this became a separate service independent from the Army, under its present name .
With the prospect of a future World War 3 involving nuclear weapons, jet aircraft were purchased: 75 De Havilland Vampires in 1950, followed by over 100 De Havilland Venoms and the same number of Hawker Hunters. The Venoms served until 1983; Vampires until 1990 and Hunters even until 1994. In the late 1940s Switzerland purchased the North American P-51 Mustang from US surplus WW2 stock. The aircraft initially was intended as a stop-gap solution for the Swiss army in order to maintain a defence force during a time when the outdated Bf 109E's and Swiss built D-3801 Moranes were being phased out but the licensed production of the British designed Dh-100 Vampires and Dh-112 Venoms was not in full swing. |
1822_10 | At the end of the 1950s, reflecting both the threat of possible invasion by the Soviet Union and a nuclear warfare, Swiss military doctrine changed to mobile defence that included missions outside its territory, in order to defeat stand-off attacks and nuclear threats, including the possibility of defensive employment of air-delivered nuclear weapons. However the inability to field a force capability to carry out such missions led to the return of traditional "protection of own territory" doctrine. Meanwhile, the army started preparing ad hoc airbases in the mountains, with sections of highway strengthened to act as runways and hangars carved out of the mountains. |
1822_11 | In 1954 the first Air Radar Recruit School activated, the first early warning radar systems were installed and the concept of command & control facilities at mountain summits was introduced; leading to acquisition of the FLORIDA early warning and command guidance system in 1965 followed by the current FLORAKO system in 2003. At the same time, ground-based air defence (GBAD) projects were initiated such as radar-equipped medium-caliber guns with an integrated 63 Superfledermaus (Superbat) fire control system' as well as the BL-64 ‘Bloodhound’ air defence missile system (1964–1999). |
1822_12 | After the prototypes EFW N-20 and FFA P-16, Switzerland did not invest in development combat aircraft anymore. In 1964 the procurement of the Dassault Mirage 3 fighters (1964–2002) caused a scandal due to severe budget overruns. The commander, the chief of the general staff and the minister of defence were forced to resign, followed by a complete restructuring of the air force and air defence units in 1968 and leading to separation of users and procurement officials.
In February 1968, the airfield brigade 32 was founded as part of a reorganization. The airbase group comprised all military airfields in Switzerland, around 16,000 members of the army. Built up by a
brigadestaff, airfield regiments Valais (1), Berner Oberland (2), Central Switzerland and Ticino (3) and a nationwide operating Light airfield division. |
1822_13 | In combination with the Bundesamt für Militärflugplätze (BAMF), this organization, together with its ZV Central Administration in Dübendorf, constituted a robust structure, which could be activated by mobilization within 48 hours.
The Patrouille Suisse aerobatics team was founded in 1964, the 50th anniversary year of Swiss army aviation.
In 1969, airforce logistics and airdefence were reassigned into brigades, the Armed Forces Meteo Group and Avalanche Rescue Service came under air force and air defence command and the Para Reconnaissance Company was established.
In the 1970s major manoeuvres with over 22,000 participants took place. A new air defence concept was also introduced in which the air superiority fighter in interceptor role stood central. In 1974 the first 2 Northrop F-5 Tiger fighters were tested and in 1978 the first F-5 Tiger fighter/interceptor squadron became ops. The F-5 is currently still ops but is scheduled to be replaced in 2018. |
1822_14 | Post-Cold War
In the late 1980s changing political and military world situations implied the need of multirole aircraft in the luftwaffe. After evaluation, the performance of the F/A-18 Hornet was decisive in its selection. Designed for carrier-borne ops, it was optimally suited to operate from very short runways with steep take-offs. Its radar allowed detection of multiple targets and simultaneously engaging with medium-range air to air missiles.
Between 1996 and 1999, 34 licence-built Hornets left the assembly lines at Emmen. As the F/A-18 size is larger than either the Mirage III or Tiger II the caverns in the mountains used to protect the aircraft had to be enlarged, a continuing process as of 2011.
The 100th anniversary of the Swiss Air Force has been celebrated in 2014 with the airshow Air14 at Payerne. |
1822_15 | Missions
Switzerland is a small country which has always kept its neutrality. Therefore, its air component is also limited in size and not capable of fighting a long term full scale air conflict. So the main Swiss Luftwaffe mission is guaranteeing Swiss air sovereignty and air defence throughout the country. This is achieved by:
maintaining general airspace control preventing unauthorised airspace intrusion through round the clock radar coverage (to be expanded by activation of ground based air defence (GBAD) units)
a 24/7 air policing as an active airspace protection.
Its secondary missions are executing airlift, reconnaissance operations, and gathering and interpreting intelligence for the Swiss political and military leadership.
Status |
1822_16 | Through the years, the Swiss luftwaffe traditionally had been a militia-based service, including its pilots. Its inventory existed of approximately 450 aircraft whose operational service life overlapped several eras. Beginning with its separation from the army in 1966 the luftwaffe has been reduced in size (currently about 230 fixed and rotary-wing aircraft) moving towards a small professional cadre with fewer reserves and conscripted supporting personnel. Currently the Swiss air force has a peacetime strength of 1,600 career military and about 20,000 reservists on call. |
1822_17 | Its air defence consists of 30 McDonnell Douglas F/A-18 Hornets and 53 Northrop F-5 Tiger IIs (110 purchased in 1978–85). The F/A-18 pilots are career military; the F-5 pilots however are reservists (mostly air- or freight-liner pilots with F-5 rating). During reserve duty periods they are assigned to military duties refreshing their operational live flying training and rating. In 2008, the Swiss F-18 component reached its 50,000 flight hour milestone. Due to the RUAG Upgrade 21 (UG21) programme between 2004 and 2009 and the Mid-Life Update (MLU) its operational lifecycle will be guaranteed until 2022. |
1822_18 | From 2011 the air force intended to start the Partial F-5 Tiger Replacement programme for 22 new aircraft with the JAS 39 Gripen, Eurofighter Typhoon and Dassault Rafale as replacement candidates. In November 2011 the Swiss government announced its decision to buy 22 Gripen New Generation fighters. The contract for the 22 aircraft was signed at 3.1 billion Swiss francs. On 25 August 2012, the order was confirmed by both the Swedish and Swiss authorities.
The first new aircraft would be delivered in 2018 and the intention was to lease 11 current generation (eight JAS 39Cs/3 JAS 39Ds) Gripen fighters from 2016 to 2020 in order to train Swiss fighter pilots while avoiding expensive upkeep of the F-5s. However, in a national referendum in May 2014 a majority of Swiss rejected the purchase of the Gripen. This included continued operation of the Patrouille Suisse on F-5E. |
1822_19 | To reduce the risk of a negative referendum outcome the Swiss defence ministry revised its procurement strategy. With its Air 2030 programme The Swiss government now opted for a planning order for a combined purchase of new fighters together with long-range groundbased air defences (GBAD). This programme valued at CHF8 billion ($8.1 billion), the biggest arms procurement programme in modern Swiss history. Defence minister Viola Amherd unveiled results of studies tackling the defence procurement package: fighters replacing both the current F-5 Tigers and F/A-18 Hornets scheduled to be retired in the 2020s as well as a reconfigured GBAD. |
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