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01 Triste 0:00 02 Ária na 4ª corda (Air On G Sting) 2:12 03 Lamentos 5:25 04 Insensatez/Apelo 8:27 05 Choro típico 11:42 06 Gente humilde/Duas contas 16:47 07 Bachianinha n°1 19:29 08 Odeon 23:02 09 Rosa 26:33 10 Samba em prelúdio 30:20 11 Implorando 34:28 12 Manhã de Carnaval 37:22 13 Choro chorado pra Paulinho Nogueira 41:17
#1 Tom Jobim; #2 J. S. Bach; #3 Baden Powell/Pixinguinha/Vinicius de Moraes; #4 a) Tom Jobim/Vinicius de Moraes, b) Baden Powell/Vinicius de Moraes; #5 Heitor Villa-Lobos; #6 a) Chico Buarque/Garoto/Vinicius de Moraes, b) Garoto; #7 Paulinho Nogueira; #8 Ernesto Nazareth; #9 Otavio Souza/Pixinguinha; #10 Baden Powell/Vinicius de Moraes; #11 Toquinho; #12 Antônio Maria/Luiz Bonfá; #13 Paulinho Nogueira/Toquinho/Vinicius de Moraes
Aram Il’yich Khachaturian (Russian: Арам Ильич Хачатурян, Armenian: Արամ Խաչատրյան, Aram Xačatryan; 6 June 1903 – 1 May 1978) was a Soviet Armenian composer and conductor. He is considered one of the leading Soviet composers.
Born and raised in Tbilisi, the multicultural capital of Georgia, Khachaturian moved to Moscow in 1921 following the Sovietization of the Caucasus. Without prior music training, he enrolled in the Gnessin Musical Institute, subsequently studying at the Moscow Conservatory in the class of Nikolai Myaskovsky, among others.
His first major work, the Piano Concerto (1936), popularized his name within and outside the Soviet Union. It was followed by the Violin Concerto (1940) and the Cello Concerto (1946). His other significant compositions include the Masquerade Suite (1941), the Anthem of the Armenian SSR (1944), three symphonies (1935, 1943, 1947), and around 25 film scores. Khachaturian is best known for his ballet music—Gayane (1942) and Spartacus (1954). His most popular piece, the “Sabre Dance” from Gayane, has been used extensively in popular culture and has been covered by a number of musicians worldwide.
His style is “characterized by colorful harmonies, captivating rhythms, virtuosity, improvisations, and sensuous melodies”. During most of his career, Khachaturian was approved by the Soviet government and held several high posts in the Union of Soviet Composers from the late 1930s, although he joined the Communist Party only in 1943. Along with Sergei Prokofiev and Dmitri Shostakovich, he was officially denounced as a “formalist” and his music dubbed “anti-people” in 1948 but was restored later that year. After 1950 he taught at the Gnessin Institute and the Moscow Conservatory and turned to conducting.
He traveled to Europe, Latin America and the United States with concerts of his own works. In 1957 Khachaturian became the Secretary of the Union of Soviet Composers, a position he held until his death. Khachaturian composed the first Armenian ballet music, symphony, concerto, and film score. He is considered the most renowned Armenian composer of the 20th century. While following the established musical traditions of Russia, he broadly used Armenian and, to lesser extent, Caucasian, Eastern and Central European, and Middle Eastern peoples’ folk music in his works. He is highly regarded in Armenia, where he is considered a “national treasure”. Gayane (Gayaneh or Gayne, the e is pronounced; Armenian: Գայանե) is a four-act ballet with music by Aram Khachaturian.
Originally composed in or before 1939, when it was first produced (in Yerevan) as Happiness. Revised in 1941–42 to a libretto by Konstantin Derzhavin and with choreography by Nina Aleksandrovna Anisimova (Derzhavin’s wife), the score was revised in 1952 and in 1957, with a new plot. The stage design was by Nathan Altman (scenery) and Tatyana Bruni (costumes).
The first performance took place on 9 December 1942, staged by the Kirov Ballet while in Perm, Russia, during the Second World War evacuation, and was broadcast on the radio.The principal dancers were: Natalia Dudinskaya (Gayane), Nikolai Zubkovsky (Karen), Konstantin Sergeyev (Armen), Tatanya Vecheslova (Nune), and Boris Shavrov (Giko). The conductor was Pavel Feldt.The most famous parts of the ballet are the “Sabre Dance”, which has been performed by many (including pop artists), and the “Adagio”, which featured prominently in Stanley Kubrick’s film 2001: A Space Odyssey.
Khachaturian’s original Gayane was the story of a young Armenian woman whose patriotic convictions conflict with her personal feelings on discovering her husband’s treason. In later years the plot was modified several times, the resultant story emphasizing romance over nationalistic zeal.
The ballet Gayane was modestly successful when danced before Joseph Stalin;performances outside the USSR have been infrequent. At the time, it was understood that the simple libretto was a necessary backdrop for the dancing, which was splendidly staged and choreographed by Anisimova, who danced in the original production. Choreographically, Anisimova thought in character dancing terms; she knew much classical dance.
Excerpts from Gayane are performed by dance companies and dance schools, especially the wedding in the second act: wonderful duets and variations for Gayane and Kazakov, her lover. The choreography was unusual for its time—classical and folk dance combined—especially the stylized use of arms and hands from the folkloric Armenian culture that is the ballet’s background.
The collective farm’s ethnic diversity is the backdrop for each part of the music (adagio arrangements, lively Armenian and Caucasian tunes) and for the compelling tale of love between a couple from between different social classes.
The premiere cast included Natalia Dudinskaya and Konstantin Sergeyev, then leading figures in Leningrad ballet. Nina Anisimova danced the part of an Armenian girl who is an image and symbol of socialist labour: she works hard, she knows how to produce the most from the fields, but she also knows how to enjoy life, spending her free time dancing and laughing.
The suite of dances in the second act reflects the nationalities of the Soviet Union. At the time, the Republic of Armenia was one of 15 republics within the Union. For that, Anisimova created the famous “Sabre Dance” that, when performed as a musical extract, became a showpiece for many dance companies.
The style of movement in the dance is unusual and unexpected for character dance—unusual bends of the body, inventive positions of the arms, not from the classical moves, the overall structure of the body is not balletic, but, most of all, in keeping with Khachaturian’s music, the choreography is temperamental, like Anisimova herself.
When critics analysed Gayane, they saw that, in strict ballet terms, it is not completely successful as a whole, because of its naïve libretto and its overtly social emphasis, yet, choreographers, critics, and historians persuaded the Kirov Theatre to profitably stage excerpts of the ballet.
The “Variation of Gayane”, the “Variation of Giko”, and the character dances were effectively done and subsequently danced as gala pieces. After its premiere in Perm, Anisimova twice restaged Gayane for the Kirov and after revision, the 1952 version stands as the definitive version of Gayane.
In the end, Nina Anisimova proved that character dancing endures and should be included in the world of classical ballet. The dance in Gayane did not follow the Petipa tradition, for example Swan Lake, wherein the audience is treated to national dance in discrete divertissements of “dances of le salon”, in Petipa’s words; in contrast, the dance in Gayane, by force of character, is felt throughout the ballet; it is a natural part of the people and of their history.In time, the ballet helped choreographers understand the importance of choreographic art in Russia, combining character dance with classical and mime traditions. Gayane is an excellent example of character dance and ballet combined; its artistic value to twentieth-century Soviet choreography is significant.
Keith Jarrett Trio concert Live in Japan, July 25, 1993 at Open Theater East (Tokyo) remastered by https://sheetmusiclibrary.website/
JACK DEJOHNETTE LIVE IN JAPAN, 1993
Open Theater East, TOKYO
1 Introduction (Public Domain) 01:57 2 In Your Own Sweet Way (Dave Brubeck) 12:30 3 Butch And Butch (Oliver Nelson) 07:34 4 Basin Street Blues (Spencer Williams) 07:03 5 Solar – Extension (Keith Jarrett, Miles Davis) 26:06 6 If I Were A Bell (Frank Loesser) 14:48 7 I Fall In Love Too Easily (Jule Styne) 10:10 8 Oleo (Sonny Rollins) 08:55 9 Bye Bye Blackbird (Ray Henderson) 09:32 10 The Cure (Keith Jarrett) 07:58 11 I Thought About You (Jimmy Van Heusen)
Keith Jarrett piano Gary Peacock double-bass Jack DeJohnette drums
Recorded live in Tokyo, July 25, 1993 at Open Theater East Director: Kaname Kawachi Recorded by Toshio Yamanaka Produced by Yasuhiko Sato Executive producers: Hisao Ebine and Toshinari Koinuma
It’s one thing to hear, but quite another to see, the Keith Jarrett Trio in action. For those unable to do so in a live setting, this two-DVD release is the next best thing. Like the Standards I/II set that precedes it, this one was recorded in Tokyo, but puts about a decade between those first Japan performances.
A 1993 gig at Open Theater East takes place in the heart of a sweltering summer. The air shines both with the music and with the rain that forces a large and dedicated audience to listen from beneath ponchos, and the musicians to play from beneath a clear canopy. The video quality is much finer this time around, and despite a rocky start born of technical issues and the weather, captures one of the trio’s finest sets available on any medium.
What separates this concert from the others available on DVD is the openness of the band’s aura. Jarrett more than ever plays for his appreciative listeners because he understands the bond into which nature has pushed them. Perhaps it’s no coincidence that Jarrett’s The Köln Concert also famously began in the least ideal of conditions. Clearly, the pressure set him on an unprecedented creative path. And so, even as the trio struggles to feel out the climate in Dave Brubeck’s “In Your Own Sweet Way” (throughout which Jarrett must often wipe down the keyboard with a towel), all while latecomers snake to their seats, we can feel the groove emerging one muscle at a time. After the worldly touches of “Butch And Butch” and “Basin Street Blues,” we know that things have been set right.
Whereas in the previous Japan documents Peacock proved himself the man of the hour (although, to be sure, the breadth of his architectures in “If I Were A Bell” and “I Fall In Love Too Easily” are as masterful as they come), it’s DeJohnette who produces the deepest hues of this rainbow. His sticks make evergreens like Sonny Rollins’s “Oleo” that much greener, and turn a 26-minute rendition of Miles Davis’s “Solar,” combined with Jarrett’s “Extension,” into a downright sacred space.
As with the 1986 concert on Standards I/II, the trio ends on three encores: “Bye Bye Blackbird,” Jarrett’s “The Cure,” and “I Thought About You.” In all of this one can sense a quiet storm of commitment to the music that flows from within. Melodies breathe, reborn, requiring open hearts to know their graces.
Jarrett started his career with Art Blakey, moving on to play with Charles Lloyd and Miles Davis. Since the early 1970s he has enjoyed a great deal of success as a group leader and a solo performer in jazz, jazz fusion, and classical music. His improvisations draw from the traditions of jazz and other genres, especially Western classical music, gospel, blues, and ethnic folk music.