Bruno Coulais
Bruno Coulais is a French composer, born in Paris on 13 January 1954. He has a father from Vendée and his mother is an Iraqi Jew. He is most widely known for his music on film soundtracks.
Coulais began his musical education on the violin and piano, aiming to become a composer of contemporary classical music. However, a series of acquaintances gradually re-oriented him towards film music. Coulais was particularly influenced by director François Reichenbach, who asked him in 1977 to write the soundtrack to his new documentary Mexico Magico. Read Full BioBruno Coulais is a French composer, born in Paris on 13 January 1954. He has a father from Vendée and his mother is an Iraqi Jew. He is most widely known for his music on film soundtracks.
Coulais began his musical education on the violin and piano, aiming to become a composer of contemporary classical music. However, a series of acquaintances gradually re-oriented him towards film music. Coulais was particularly influenced by director François Reichenbach, who asked him in 1977 to write the soundtrack to his new documentary Mexico Magico. The first full-length production he composed the score for was the 1986 film La femme secrète by Sébastien Grall. Until the end of the 1990s, he remained low-profile, composing mainly for television. His name can often be found from TV films by Gérard Marx and Laurent Heynemann. He also composed the soundtracks for Christine Pascal's 1992 film Le petit prince a dit, and Agnès Merlet's Le fils du requin in 1993.
In 1994, he met the television producer Josée Dayan, who let him write a theme for the TV series La rivière Esperance, aired on the France 2 network in autumn 1995. He worked with Dayan again with other major productions such as Le comte de Monte-Cristo, Balzac, and Les nuiteux.
The largest turning point of his career came in 1996, when he worked with directors Claude Nuridsany and Marie Pérennou of the documentary Microcosmos. This single film, which gave a great significance to the music in it, was a great success and made Coulais one of the most wanted composers of French film music. In 1997, he won the César award for the best musical score in a film, as well as a Victoire de la Musique. His reputation was confirmed by the soundtracks to Himalaya (1999) and Les rivières pourpres (2000), and after that Bruno Coulais's name was to be found on most new French blockbusters, such as Belphégor and Vidocq.
After producing the soundtrack to Winged Migration in 2001, Coulais announced that he wanted to significantly reduce his contributions to film music, and instead concentrate on other projects, such as the creation of an opera for children, and collaborations with Akhenaton, Akhenaton's group IAM and the Corsican group A Filetta, with whom he had worked since he had made the soundtrack for Jacques Weber's film Don Juan in 1998.
In 2002, his name was found on the ending credits of the animation L'enfant qui voulait être un ours, and in 2004, on Frédéric Schoendoerffer's Agents secrets. The same year, he wrote the soundtrack to the film Les choristes by Christophe Baratier, which subsequently became an international hit. The music for this film received as great praise as the film itself, and it won Coulais his third César award. Since then, Coulais's collaborations in cinema seem to be limited to works by directors with whom he already shares some history, in particular Jacques Perrin, Frédéric Schoendoerffer, and James Huth.
Bruno Coulais's musical style may vary significantly between different projects, but there are some constant factors visible: his taste for opera and for human voice (in particular that of children), for a search for original sonority, for world music and mixing different musical cultures, and finally, a certain tendency to give preference to the ambience created by lighting rather than the film's narration.
Coulais began his musical education on the violin and piano, aiming to become a composer of contemporary classical music. However, a series of acquaintances gradually re-oriented him towards film music. Coulais was particularly influenced by director François Reichenbach, who asked him in 1977 to write the soundtrack to his new documentary Mexico Magico. Read Full BioBruno Coulais is a French composer, born in Paris on 13 January 1954. He has a father from Vendée and his mother is an Iraqi Jew. He is most widely known for his music on film soundtracks.
Coulais began his musical education on the violin and piano, aiming to become a composer of contemporary classical music. However, a series of acquaintances gradually re-oriented him towards film music. Coulais was particularly influenced by director François Reichenbach, who asked him in 1977 to write the soundtrack to his new documentary Mexico Magico. The first full-length production he composed the score for was the 1986 film La femme secrète by Sébastien Grall. Until the end of the 1990s, he remained low-profile, composing mainly for television. His name can often be found from TV films by Gérard Marx and Laurent Heynemann. He also composed the soundtracks for Christine Pascal's 1992 film Le petit prince a dit, and Agnès Merlet's Le fils du requin in 1993.
In 1994, he met the television producer Josée Dayan, who let him write a theme for the TV series La rivière Esperance, aired on the France 2 network in autumn 1995. He worked with Dayan again with other major productions such as Le comte de Monte-Cristo, Balzac, and Les nuiteux.
The largest turning point of his career came in 1996, when he worked with directors Claude Nuridsany and Marie Pérennou of the documentary Microcosmos. This single film, which gave a great significance to the music in it, was a great success and made Coulais one of the most wanted composers of French film music. In 1997, he won the César award for the best musical score in a film, as well as a Victoire de la Musique. His reputation was confirmed by the soundtracks to Himalaya (1999) and Les rivières pourpres (2000), and after that Bruno Coulais's name was to be found on most new French blockbusters, such as Belphégor and Vidocq.
After producing the soundtrack to Winged Migration in 2001, Coulais announced that he wanted to significantly reduce his contributions to film music, and instead concentrate on other projects, such as the creation of an opera for children, and collaborations with Akhenaton, Akhenaton's group IAM and the Corsican group A Filetta, with whom he had worked since he had made the soundtrack for Jacques Weber's film Don Juan in 1998.
In 2002, his name was found on the ending credits of the animation L'enfant qui voulait être un ours, and in 2004, on Frédéric Schoendoerffer's Agents secrets. The same year, he wrote the soundtrack to the film Les choristes by Christophe Baratier, which subsequently became an international hit. The music for this film received as great praise as the film itself, and it won Coulais his third César award. Since then, Coulais's collaborations in cinema seem to be limited to works by directors with whom he already shares some history, in particular Jacques Perrin, Frédéric Schoendoerffer, and James Huth.
Bruno Coulais's musical style may vary significantly between different projects, but there are some constant factors visible: his taste for opera and for human voice (in particular that of children), for a search for original sonority, for world music and mixing different musical cultures, and finally, a certain tendency to give preference to the ambience created by lighting rather than the film's narration.
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Vois sur ton chemin
Bruno Coulais Lyrics
Vois sur ton chemin
Gamins oubliés égarés
Donne leur la main
Pour les mener
Vers d'autres lendemains
(Donne leur la main
Pour les mener
Vers d'autres lendemains)
Sens au cœur de la nuit
L'onde d'espoir
Ardeur de la vie
Sentier de gloire
(Ardeur de la vie, de la vie
Sentier de gloire,
Sentier de gloire)
Bonheurs enfantins
Trop vite oubliés effacés
Une lumière dorée
Brille sans fin
Tout au bout du chemin
(Vite oubliés effacés
Une lumière dorée brille sans fin)
Sens au cœur de la nuit
L'onde d'espoir
Ardeur de la vie
Sentier de la gloire
(Ardeur de la vie, de la vie
Sentier de gloire,
Sentier de gloire)
Vois sur ton chemin
Gamins oubliés égarés
Donne leur la main
Pour les mener
Vers d'autres lendemains
(Donne leur la main
Pour les mener
Vers d'autres lendemains)
Sens au cœur de la nuit
L'onde d'espoir
Ardeur de la vie
Sentier de gloire
Sens au cœur de la nuit
L'onde d'espoir
Ardeur de la vie
Sentier de gloire
Lyrics © PEERMUSIC FRANCE, Peermusic Publishing
Written by: Bruno Coulais, Christophe Barratier
Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
Schattenherz
Vois sur ton chemin
Gamins oubliés égarés
Donne leur la main
Pour les mener
Vers d'autres lendemains
Donne leur la main
Pour les mener
Vers d'autres lendemains
Sens au coeur de la nuit
L'onde d'espoir
Ardeur de la vie
Sentier de gloire
Ardeur de la vie
De la vie
Sentier de gloire
Sentir de gloire
Bonheurs enfantins
Trop vite oubliés effacés
Une lumière dorée
Brille sans fin
Tout au bout du chemin
Vite oubliés effacés
Une lumière dorée
Brille sans fin
Sens au coeur de la nuit
L'onde d'espoir
Ardeur de la vie
Sentier de gloire
Ardeur de la vie
De la vie
Sentier de gloire
Sentir de gloire
É-lé-é i-lé-é
É-lé-i i-é-lé
É-lé-é i-lé-é
I-lé-é i é lé
É-lé-é i-lé-é
É-lé-i i-é-lé
É-lé-é i-lé-é
I-lé-é i é lé
Vois sur ton chemin
Gamins oubliés égarés
Donne leur la main
Pour les mener
Vers d'autres lendemains
Donne leur la main
Pour les mener
Vers d'autres lendemains
Sens au coeur de la nuit
L'onde d'espoir
Ardeur de la vie
Sentier de gloire
Sens au coeur de la nuit
L'onde d'espoir
Ardeur de la vie
Sentier de gloire
Yash Y1
Voice of the street Divine ❌🌟🌟🌟🌟🌟🌟🌟👍
Ankit
now 3.59
Alexander Lowry
My french teacher showed us this movie. I cried at the end.
Oxdar
Where i found this movie
Vanderly Regdji
Me too😭
lars beem
same
Rhema Ime - Albert
Ironically my Spanish teacher showed us this movie!
Guillaume Martin du Pont
@Agneedh Basu The Chorus or Les Choristes in french
Harsh Chhangani
Only me who randomly came here after DIVINE's 3:59 AM?
Saurabh Jironkar
Here I'm 🙌🏻