Who are we ?

The Wellenschaum music publishing company was created in 2019 following the great success of freely downloaded scores on our music-poetry-ocean travel website.

Indeed, for 4 years, more than 30,000 instrumental music scores, poems set to music or songs have been downloaded by musicians from around the world.

It therefore seemed interesting to revise the scores, to add unpublished others and to propose them for a modest price in a more careful form. In addition, you can download the music recording as an MP3 file. Those that the scores and MP3 files do not interest can order one of the CDs available on the site.

Patrice GEFFROY, composer and songwriter : Biographical elements

I was born in Normandy a lot of years ago and I live today in Alsace, between Colmar and Strasbourg.

Music has always attracted me. There was a piano at home and I started studying the piano around the age of 6 or 7 years old. My departure for the boarding school of a high school in Rouen interrupted the lessons and, despite some late classes, I was, for the most part, an autodidact keyboarder.

Quickly, I started to compose. I think I have always done it. For lack of solid musical theory base I put on paper almost anything : I still remember my beginnings with a 4-beat scherzo (without trio), pale imitation of Frederic Chopin’s scherzo nr 2, very dark and arranged as a theme and variations.

At a time when radio stations were beginning to broadcast twist and rock music, I was captivated by classical music, a dream and meditation space. As soon as I had three pennies, I ran to buy from our bookseller store a large LP 33 rpm ― a concerto, a symphony, sonatas ― in a cheap collection (9.90 FF at the time), while the others rushed on Johnny's or Sheila's last singles, and at night, I stacked up a dozen records on my recorder and listened for hours to the music stream.

Then, the University, professorship and various functions within the National Education and, in parallel, the foundation of a family.

I had little time to devote to music, but from time to time I improvised melodies, fantasies, studies, and remained faithful to Chopin, Mozart, Schubert or Brahms. Obviously, the rock'n roll imposed itself and my shy attempts to make my too wise and perfectly off compositions known, had no chance of success.

In 1984, I still made the recording of chamber music, but the tape did not inspire the production houses. It is a fact that between the contemporary classic, the song of variety and the rock there was little space. Curiously, 35 years later, these unpretentious musical pieces are among the most popular and they are a great success.

A little later, a meeting with a woman who listened to Barbara and Joan Baez inspired me to explore other horizons : the song. I had already made some timid attempts, but nothing conclusive. Love must have given me the necessary resources and helped me to write, another kind of exercise. I always wrote with ease, but the poetic writing and the song in particular is a different kettle of fish...

From this period thirty songs were born, of which 12 were recorded in the studio by my wife, with whom I gave small shows in the East of France. I had pushed her to sing as she had pushed me to make songs. She did not, according to the current criteria, have a great voice, but she was a prodigious performer, more made for the stage than for the record.

In 1990, precisely on August 15, 1990, Yves Montand ― to whom I had sent some titles (I knew his country house to have passed many times when I lived in Normandy) ― called me. He loved my songs and he wanted to go back on stage. This correlation should have made me react. In fact, under the influence of emotion, I did not really understand what he wanted and, as it was very modest, he did not ask anything, and I did not propose anything. If I had seized this opportunity, nothing would have been done, because he finally gave up his plan and died the following year.

The CD came out in 1994. We had put ourselves in charge, the triptych of the jacket was beautiful and the acoustic solos, performed by musicians of the O.P.S. (Strasbourg Philharmonic Orchestra), really successful ; the recordings, on the other hand, sometimes suffered from repeated technical problems in the studio. But anyway, we had something to give to our admirers. In fact, a succession of unforeseen family and professional events forced us to close the song parenthesis. Chorus, the magazine of lovers of the song, echoed our CD in a special issue dedicated to Serge Gainsbourg. Nice review, no more.

During the years that followed, family, work, home, holidays, sometimes illness filled my life again, but the music was not very present. And then there was Notre-Dame de Paris and the beautiful music of Richard Cocciante. Les Misérables, like Starmania and all the other musicals of the previous 20 years, had never really caught my attention. I had just grabbed a few tunes on the fly, no more. Notre-Dame de Paris, which ̶ it’s a fact ̶ benefited from a big hype, pulled me out of my musical torpor. I felt that I could do something like this and yet different.

First, find a booklet or write it. My tropism towards the nineteenth century novel limited my research. Cinq-Mars ? Mauprat ? 1793 ? I was also thinking of Balzac's immense work, whose novels I had read passionately when I was 25 years old. I remembered the intrigue of the Chouans ; but, on re-reading the novel, I found myself faced with an imposing enormous material. However, I found what I was looking for : a couple at Romeo and Juliet, a well thought-out yet scrambled plot, characters worthy of appearing on a stage. It was necessary to prune, to reshape, without breaking the dynamics of the story.

When I could, a few years later, unexpectedly retire, I went back to the writing of the musical drama "Les Chouans", left long aside for lack of time. Then, it was the arrangements, the making of a clip by the students of the B.T.S. audio-visual of Montbéliard and the recording of sung extracts, the preparation of a presentation booklet, some targeted mailings and last the website, all thanks to the precious collaboration of my son Frédéric, at ease as much with the image, with the sound or the web. Aude, the singer, became pregnant the year of making recordings scheduled well in advance ; his round belly made the clip lose its authenticity and impact.

Seven years later, I called on her again to record poems by Baudelaire, Victor Hugo, Louise Labé, Mallarmé, Rimbaud, Verlaine …, which I set to music. His voice and style, which had done wonders in the hit song of the Chouans « Stay asleep in the night bosom, » were quite suitable for this new exercise.

This marriage of poetry and music was not new. I admired Brassens, Ferrat, Ferré, etc., who sang the texts of our poets. I gave Baudelaire, the prince of poets, a preponderant place, for it seemed to me that the music scene had somewhat left him out, probably because of the darkness of his subjects and his symbolic language.

In recent years, back to my first love : instrumental music, especially the piano, but also a dozen small pieces, written for my last son when he was learning violin. I adapted them for viola, bassoon, clarinet, oboe, cello, etc. Among them : Czardas, Melancholia, Joyeuse fête et Marche de l’ours become real hits, if we refer to the number of downloaded scores.