It's no coincidence that the Baroque period of literary history, from 1580 to 1640, was rediscovered in the studies of the 1960s. Themes such as change, artifice and singularity, which characterized Chassignet's poetry and Viau's theater, also turned out to be the main demands of the May '68 movement.<\/p>\n\n\n\n\n\n\n\n
It's no coincidence, then, that the Baroque aesthetic can be found in the music of the 60s. French chanson needed to emerge from the sixties and find a new musical medium, more elaborate than that of the y\u00e9y\u00e9s, those novice singers. Rockabilly, rock'n'roll, folk rock and the nascent pop rock were succeeded by an unnoticed yet fundamental musical genre: baroque pop.<\/p>\n\n\n\n
There's no better way to discover this goldmine than to listen to Michel Polnareff's second album, coincidentally released in 1968: Le Bal des Laze<\/em>, thirty-three minutes of pure genius. From the very first track, Day by day<\/a><\/em>, Baroque themes enter the music: \u00abDay after day \/ I change my face \/ Like a landscape \/ Oh! mon amour\u00bb. The passing of time, inconstancy and love are transcended by a piano, strings and brass reminiscent of Baroque music, and by Polnareff's talent for melodies.<\/p>\n\n\n\n However, this album also invites us to enjoy the pleasures of life. Great human feelings<\/a><\/em> express youth's contempt for the codes of old society; Jacques Vall\u00e9e des Barreaux, libertine and epicurean poet, could have written the lyrics of the song four centuries earlier: \u00abIl faut essayer avant de se marier \/ Elle est loin, la mode de la virginit\u00e9 \/ Il n'y a pas de paradis sans amour.\u00bb<\/p>\n\n\n\nRead also | Polnarevolutions<\/a><\/h6>\n\n\n\n