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 Pixinguinha

O Instituto Moreira Salles comemora os 110 anos de Pixinguinha abrindo o acervo do artista para consulta pública.

Desde 23 de abril de 2007, aniversário de Pixinguinha e ‘Dia Nacional do Choro’, os pesquisadores podem ouvir centenas de gravações da obra do artista, por ele ou por outros intérpretes, ver fotografias e analisar informações sobre partituras manuscritas e editadas do autor de Carinhoso e Rosa.

Além disso, estará disponível um índice de obras sobre o músico encontradas na biblioteca do IMS.

O IMS organizou, ainda, uma exposição com imagens, documentos, instrumentos musicais e objetos reunidos pela família e preservados pelo IMS, em nosso centro cultural carioca. A mostra será exibida no IMS-RJ (Rua Marquês de São Vicente, 476, Gávea, Rio de Janeiro) entre 10 de abril e 1 de julho de 2007.

Ouça gravações da obra de Pixinguinha:

Músicas compostas por Pixinguinha

Músicas interpretadas por Pixinguinha

Músicas executadas por Pixinguinha como acompanhante

Músicas compostas e interpretadas por Pixinguinha

Ouça gravações dos grupos musicais de que Pixinguinha participou:

Choro carioca

Grupo O Passos no Choro

Bloco dos Parafusos

Grupo do Pixinguinha

Choro Pixinguinha

Oito Batutas

Orquestra Típica Pixinguinha

Orquestra Victor Brasileira

Grupo da Guarda Velha

Diabos do Céu

Pesquise informações sobre partituras de obras de Pixinguinha, manuscritas e editadas:

As partituras digitalizadas e editoradas podem ser pesquisadas diretamente na Reserva Técnica Musical do IMS-RJ, mediante agendamento pelo e-mail Fale com IMS:

Manuscritas

Editadas

Veja imagens de Pixinguinha

Fotografias

Consulte informações sobre obras relacionadas a Pixinguinha

Livros

A alegria está na luta, na tentativa, no sofrimento envolvido, não na vitória propriamente dita.”

Mahatma Gandhi (Mohandas Karamchand Gandhi)   (1869-1948)

Lotofácil Conc. 0219 (14/05/2007)

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Frequência das dezenas

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Atraso das dezenas

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Duque(s) mais sorteado(s) na Lotofácil

02-25/099

Terno(s) mais sorteado(s) na Lotofácil

01-02-25/067 01-11-23/067

Tom Jobim

 Tom Jobim por Baptistão

Tom Jobim

Compositor, arranjador e maestro fluminense. O autor brasileiro mais cantado e conhecido em todo o mundo.
Antônio Carlos Brasileiro de Almeida Jobim (25/1/1927-8/12/1994) nasce no Rio de Janeiro, no bairro da Tijuca, e ainda criança se muda para Ipanema. Aprende a tocar violão e, por influência do padrasto, começa a estudar piano aos 14 anos, com o compositor e maestro alemão Hans-Joachim Koellreuter, e inicia a carreira como pianista nas casas noturnas de Copacabana. O primeiro sucesso é Teresa da Praia (1954), em parceria com Billy Blanco. Dois anos depois compõe para a peça Orfeu da Conceição, de Vinicius de Moraes. Algumas de suas músicas são incluídas no disco Canção do Amor Demais (1958), de Elizeth Cardoso, considerado o prenúncio da bossa-nova. Em 1962 participa do Festival de Bossa Nova no Carnegie Hall de Nova York. No ano seguinte compõe Garota de Ipanema com o parceiro Vinicius, que se torna sua canção mais conhecida e regravada no mundo. Em 1967 grava o disco Francis Albert Sinatra & Antônio Carlos Jobim. Trabalha com músicos como Stan Getz, Ella Fitzgerald, Andy Williams e Nelson Riddle. Entre suas composições se destacam ainda Desafinado e Samba de Uma Nota Só, obras-primas da bossa-nova (ambas com Newton Mendonça), Sabiá e Retrato em Branco e Preto (com Chico Buarque), Corcovado, Wave e Águas de Março. Morre em Nova York, de parada cardíaca após cirurgia na bexiga. Em fevereiro de 1996 ganha postumamente o Prêmio Grammy por melhor performance de jazz latino no disco Antônio Brasileiro (1994).

 

Fonte: Almanaque Abril

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It has been said that Antônio Carlos Brasileiro de Almeida Jobim was the George Gershwin of Brazil, and there is a solid ring of truth in that, for both contributed large bodies of songs to the jazz repertoire, both expanded their reach into the concert hall, and both tend to symbolize their countries in the eyes of the rest of the world. With their gracefully urbane, sensuously aching melodies and harmonies, Jobim’s songs gave jazz musicians in the 1960s a quiet, strikingly original alternative to their traditional Tin Pan Alley source.

Jobim’s roots were always planted firmly in jazz; the records of Gerry Mulligan, Chet Baker, Barney Kessel, and other West Coast jazz musicians made an enormous impact upon him in the 1950s. But he also claimed that the French impressionist composer Claude Debussy had a decisive influence upon his harmonies, and the Brazilian samba gave his music a uniquely exotic rhythmic underpinning. As a pianist, he usually kept things simple and melodically to the point with a touch that reminds some of Claude Thornhill, but some of his records show that he could also stretch out when given room. His guitar was limited mostly to gentle strumming of the syncopated rhythms, and he sang in a modest, slightly hoarse yet often hauntingly emotional manner.

Born in the Tijuca neighborhood of Rio, Jobim originally was headed for a career as an architect. Yet by the time he turned 20, the lure of music was too powerful, and so he started playing piano in nightclubs and working in recording studios. He made his first record in 1954 backing singer Bill Farr as the leader of “Tom and His Band” (Tom was Jobim’s lifelong nickname), and he first found fame in 1956 when he teamed up with poet Vinícius de Moraes to provide part of the score for a play called Orfeo do Carnaval (later made into the famous film Black Orpheus). In 1958, the then-unknown Brazilian singer João Gilberto recorded some of Jobim’s songs, which had the effect of launching the phenomenon known as bossa nova. Jobim’s breakthrough outside Brazil occurred in 1962 when Stan Getz and Charlie Byrd scored a surprise hit with his tune “Desafinado” — and later that year, he and several other Brazilian musicians were invited to participate in a Carnegie Hall showcase. Fueled by Jobim’s songs, the bossa nova became an international fad, and jazz musicians jumped on the bandwagon, recording album after album of bossa novas until the trend ran out of commercial steam in the late ’60s.

Jobim himself preferred the recording studios to touring, making several lovely albums of his music as a pianist, guitarist, and singer for Verve, Warner Bros., Discovery, A&M, CTI, and MCA in the ’60s and ’70s, and Verve again in the last decade of his life. Early on, he started collaborating with arranger/conductor Claus Ogerman, whose subtle, caressing, occasionally moody charts gave his records a haunting ambience. When Brazilian music was in its American eclipse after the ’60s, a victim of overexposure and the burgeoning rock revolution, Jobim retreated more into the background, concentrating much energy upon film and TV scores in Brazil. But by 1985, as the idea of world music and a second Brazilian wave gathered steam, Jobim started touring again with a group containing his second wife Ana Lontra, his son Paulo, daughter Elizabeth, and various musician friends. At the time of his final concerts in Brazil in September 1993 and at Carnegie Hall in April 1994 (both available on Verve), Jobim at last was receiving the universal recognition he deserved, and a plethora of tribute albums and concerts followed in the wake of his sudden death in New York City of heart failure. Jobim’s reputation as one of the great songwriters of the century is now secure, nowhere more so than on the jazz scene, where every other set seems to contain at least one bossa nova. ~ Richard S. Ginell, All Music Guide

Born: Jan 25, 1927 in Rio de Janeiro, Brazil
Died: Dec 08, 1994 in New York City, USA

Source: Answers

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