Mountains The Sun & The Sea: Art Of Antonio Carlos Mountains The Sun & The Sea: Art Of Antonio Carlos CD

THE MOUNTAINS, THE SUN AND THE SEA: The Art of Ant?nio Carlos ("Tom") Jobim, comprises the landmark early Brazilian recordings of the composer, spanning the first decade of his career; the historic albums Jobim participated in making and a quantity of his songs - 78s and singles - recorded by popular Brazilian singers of the day. Taking much of his inspiration from nature, Jobim's music has been described as the embodiment of Brazil itself and may be considered a metaphor for the optimism of a nation that was at the time enjoying a brief period of Democracy. To a Brazilian popular music scene weighed-down by heavily orchestrated melodrama, Jobim's music came as a breath of fresh air, bringing lightness, a deceptive simplicity, space, subtlety and understatement. Whether writing alone, or with partners such as Billy Blanco, Newton Mendon?a, Dolores Duran, Luiz Bonf, or, most fruitfully and enduringly, with the poet Vinicius de Moraes, Jobim was central to a Latin-American musical revolution that would have global implications. Jobim's musical viewpoint - a lyricism born largely of his love of Chopin, Debussy, Ravel, Stravinsky and the music of his fellow-countryman Heitor Villa-Lobos - took form in the early fifties, the trajectory of his career apparent from his first hit, the delightfully breezy L?cio Alves-Dick Farney duet, Teresa da praia, through the panoramic Sinfonia do Rio de Janeiro, a model of artistic collaboration and in it's harmonic and melodic properties, a pre-echo of bossa nova; the beautiful songs he wrote for the Orfeu da Concei??o theatre production, Jobim's first collaboration with Vinicius, from which emerged the popular "Se todos fossem iguais a voc?" (Someone to Light Up My Life); and Can??o Do Amor Demais, the programme of Tom-Vinicius compositions sung by Elizete Cardoso which represents the transitional stage between samba-can??o and bossa nova. On this recording, briefly, for the first time, we hear the guitar of Jo?o Gilberto. In 1959, Chega de saudade changed everything. Produced and arranged by Jobim, the album's twelve songs are the blueprint for bossa nova and the turning point for Brazilian culture. Jo?o Gilberto's voice is intimate and serene and he proposed an entirely new approach to the guitar, an audacious refinement of the essentials of the samba rhythm, the irresistible force of 500 percussionists in miniature; a breathtaking act of modernist art. Time was when the young Jobim had needed to peddle his compositions to local recording artists, now, following the success of Chega de saudade, singers beat a path to his door, pleading for songs. Some artists devoted entire albums to Jobim repertoire. Silvia Telles established herself early on as the foremost interpreter of the composer's work and many of her recordings deserve to be regarded as definitive. By contrast, the soprano Lenita Bruno viewed Jobim from an art song perspective, achieving a sublime result that is a remarkable showcase both for her voice and for the arrangements of her husband Leo Peracchi, one of great modernisers of popular music orchestration. In 1958, Juscelino Kubitschek, the President of Brazil, asked Tom and Vinicius to compose a symphonic suite to be used at the opening ceremony of Brasilia, a city designed by Oscar Niemeyer and Lucio Costa, which was to be built in the state of Gois on the central plateau. Brasilia would be inaugurated as the nation's new capital in April 1960. Neimeyer's vision would be one of history's boldest, most dramatic architectural statements that for Brazil was intended to represent a new vision for the future. The composers responded with a symphonic poem for full orchestra in five movements involving themes inspired by Brazilian folk melodies and birdsong; Stravinsky and Villa-lobos. If one song can be said to have made bossa nova and Tom Jobim's name famous the world over, it was Garota de Ipanema (The Girl from Ipanema). The very first recording of this essay in sensuality was made by the fine Brazilian singer Pery Ribeiro in 1962 (Astrud Gilberto's sandy million-selling hit would be recorded in March of the following year). Over the ensuing decades, the composition has been interpreted by a legion of international artists; the second most recorded song in pop history after Lennon & McCartney's Yesterday

1. Teresa Da Praia - L·cio Alves ; Dick Farney 2. Sinfonia Do Rio de Janeiro: Abertura - Dick Farney / Hino Ao Sol - Dick Farney / Coisas Do Dia - Os Cariocas / Matei-Me No Trabalho - Gilberto Milfont / Zona Sul - Elizete Cardoso / Arpoador - L·cio Alves / Noites Do Rio - Doris Monteiro ; Os Cariocas / O Mar - Elizete Cardoso / Copacabana - Dick Farney / a Montanha - Emilinha Borba / O Morro - Nora Ney / Descendo O Morro - Jorge Goulart Samba Do Amanh? - Dick Farney 3. Arpoador 4. Noites Do Rio (Rio Nights) 5. O Samba de Amanha (Tomorrow's Samba) 6. Hino Ao Sol (Ode to the Sun) 7. Descendo O Morro (Descending the Hill) 8. O Que Vai Ser de Mim? - Nora Ney 9. Se ? Por Falta de Adeus - D?ris Monteiro 10. Engano - D?ris Monteiro 11. Vem Viver Ao Meu Lado - Gilda de Barros 12. S? Saudade - Claudia Moreno 13. Se Todos Fossem Iguais a Voc? - Norma Suely 14. Sucedeu Assim - Agostinho Dos Santos 15. Por Causa de Voc? - Vera Lucia 16. ? Preciso Dizer Adeus - Sonia Dutre 17. Por Toda Minha Vida - Carlos Jos? 18. A Felicidade- Carlos Augusto 19. Chega de Saudade - Trio Nag? 20. Medita??o - Neusa Maria 21. Janelas Abertas - Jandira Gon?alves (Anita Brunette) 22. Esquecendo Voc? - Pery Ribeiro ; Luiz Bonfß 23. Andam Dizendo - Elza Laranjeira 24. Para N?o Sofrer - Jorginho 25. Samba Do Avi?o (Song of the Jet) - Os Cariocas 26. Ouverture 27. Monologo de Orfei 28. Um Nome de Mulher 29. Se Todos Fossem Iguais a Voce 30. Mulher, Sempre Mulher 31. Eu E O Meu Amor 32. Lamento No Morro 33. Chega de Saudade 34. Serenata Do Adeus 35. As Praias Desertas 36. Caminho de Pedra 37. Luciana 38. Janelas Abertas 39. Eu N?o Existo Sem Voc? 40. Outra Vez 41. Medo de Amar 42. Estrada Branca 43. Vida Bela 44. Modinha 45. Can??o Do Amor Demais 46. A Felicidade - Agostinho Dos Santos 47. Manh? de Carnaval (Morning of the Carnival) - Agostinho Dos Santos ; Luiz Bonfß 48. Scene Du Lever Du Soleil - Luiz Bonfß 49. Samba de Orfeo - Luiz Bonfß 50. Samba de Orfeo - Pery Ribeiro 51. A Felicidade - Agostinho Dos Santos (Tom Jobim: Piano) 52. A Felicidade 53. Manha de Carnaval 54. O Nosso Amor 55. Dindi - Agostinho Dos Santos 56. Estrada Do Sol - L·cio Alves 57. Chega de Saudade 58. Lobo Bobo 59. Brigas, Nunca Mais 60. H?-B?-L?-L? 61. Saudade F?Z Um Samba 62. Maria Ningu?m 63. Desafinado 64. Rosa Morena 65. Morena Boca de Ouro 66. Bim Bom 67. Aos P?S Da Cruz 68. E Luxo S? 69. Dindi 70. De Voc?, Eu Gosto 71. Discuss?o 72. Sem Voc? 73. Fotografia 74. Janelas Abertas 75. Demais 76. O Que Tinha de Ser 77. A Felicidade 78. Canta, Canta Mais 79. S? Em Teus Bra?os 80. Esquecendo Voc? 81. Eu Preciso de Voce 82. Eu Sei Que Vou Te Amar 83. Samba Torto 84. Corcovado 85. Samba de Uma Nota S? 86. Por Causa de Voc? 87. Sucedeu Assim 88. Se Todoos Fossem Iguais a Voc? 89. Foi a Noite 90. Por Toda a Minha Vida 91. Serenata Do Adeus 92. Estrada Branca 93. Soneto de Separa??o 94. Valsa de Eur?dice 95. Can??o Do Amor Demais 96. As Praias Desertas 97. Eu Sei Que Vou Te Amar 98. Canta, Canta Mais 99. Modinha 100. Cai a Tarde 101. Sem Voc? 102. Eu N?o Existo Sem Voc? 103. O Planalto Deserto (The Deserted Plateau) 104. O Homen (Humanity) 105. A Chegada Do Candangos 106. (Arrival of the "Candangos") 107. O Trabalho E a Constructao 108. (The Work and the Construction) 109. Coral (Choir) 110. Garota de Ipanema - Pery Ribeiro 111. Insensatez - Alaide Costa 112. O Morro N?o Tem Vez - Jo?o Donato