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*In ''[[Missing Person (novel)|Missing Person]]'' by Patrick Modiano, the tune is mentioned briefly, towards the end of the novel, in Chapter 43.
*In ''[[Missing Person (novel)|Missing Person]]'' by Patrick Modiano, the tune is mentioned briefly, towards the end of the novel, in Chapter 43.
*In the architectural manifesto ''[[Nine Points on Monumentality]]'' (1943) by [[Sigfried Giedion]], [[Fernand Léger]] and [[Josep Lluís Sert]], selected verses are quoted as indicative of popular perceptions on monumentality.
*In the architectural manifesto ''[[Nine Points on Monumentality]]'' (1943) by [[Sigfried Giedion]], [[Fernand Léger]] and [[Josep Lluís Sert]], selected verses are quoted as indicative of popular perceptions on monumentality.
*[[Pepe Le Pew]] is singing a refrain in the 1962 [[Chuck Jones]] short '[[Louvre Come Back to Me!]]'.
*[[Pepé Le Pew]] is singing a refrain in the 1962 [[Chuck Jones]] short '[[Louvre Come Back to Me!]]'.


== Music ==
== Music ==

Revision as of 16:24, 18 March 2016

"Auprès de ma blonde" (French for "Next to My Girlfriend") or "Le Prisonnier de Hollande" ("The Prisoner of Holland") is a popular chanson dating to the 17th century. It appeared during or soon after the Franco-Dutch War (1672–78), during the reign of Louis XIV, when French sailors and soldiers were commonly imprisoned in the Netherlands. The song is the first track of "Songs of the World" by the Norman Luboff Choir. It was meant to represent France, on a two album set that included songs from all around the world.

The song's quick pace and lively melody made it well-suited to military marches, and it is still commonly played at parades. For the same reasons, it gained widespread popularity as a drinking song and nursery rhyme.

Appearances

  • In The Secret Life of Walter Mitty, he hums the tune in a war-time scenario.
  • A French singer sings this song in the court of Prinny, in the movie "The Return of the Scarlet Pimpernel." during a ball scene. The time is supposed to be that of The Terror, and the enthusiasm with which this song is greeted shows that the British aristocracy never heard it before. That is a time anachronism because this chanson existed in the 17th century.
  • In Missing Person by Patrick Modiano, the tune is mentioned briefly, towards the end of the novel, in Chapter 43.
  • In the architectural manifesto Nine Points on Monumentality (1943) by Sigfried Giedion, Fernand Léger and Josep Lluís Sert, selected verses are quoted as indicative of popular perceptions on monumentality.
  • Pepé Le Pew is singing a refrain in the 1962 Chuck Jones short 'Louvre Come Back to Me!'.

Music


\new Staff {
\relative c'' {
  \key f \major
  \numericTimeSignature 
  \time 6/8
  \partial 8

  a8^ \markup { \italic Couplet }
  a4 bes8 a4 g8
  f4. f8 r f
  c'4 c8 d4 d8
  c4. ~ c8 r a \break
  a4 bes8 a4 g8
  f4. f8 r f
  c'4 c8 d4 d8
  c4. ~ c8 r c \break
  d4 d8 d4 a8
  bes4. bes8 r bes
  c4 c8 c4 g8
  a4. ~ a4 r8 \break
  f4.^ \markup { \italic Refrain } g8 a bes
  a4. c
  g4 bes8 a4 g8
  f4 d8 c4. \break
  f g8 a bes
  a4. c
  g4 bes8 a4 g8
  f4. ~ f4 \bar "|."
} }
\addlyrics { 
\lyricmode {
    Dans les jar -- dins d'mon pè -- re,
    Les li -- las sont fleu -- ris.
    Dans les jar -- dins d'mon pè -- re,
    Les lau -- riers sont fleu -- ris.
    Tous les oi -- seaux du mon -- de
    Vien -- nent y fair' leurs nids.
  
    Au -- près de ma blon -- de,
    Qu'il fait bon, fait bon, fait bon.
    Au -- près de ma blon -- de,
    Qu'il fait bon dor -- mir_!
} }

  \midi {
    \context {
      \Score
      tempoWholesPerMinute = #(ly:make-moment 360 8)
    }
  }