С начало определитесь с тем кто стыбзил у Гаджибекова Арно или Комитас а потом уже оспаривайте патент вора.У Арно?Этот фильм крутили по всем социалистическим странам даже в индии а потом он вошёл золотой фонд СССР и Арно вежлего промолчал да?)))))))))))))
Ай ИДИООТ!!!!! Чем ты хвастаешься????!!!!! Эти люди,которых ты ,смотришь не были такими ,как вы,подлецы, сейчас!!!!! Джырт гоззах!!!! Я, ненавижу вас ВСЕЕЕХ....на сегодня!!!!!!! Алчаглар!!!!!! Вы же недостойны, даже их пылинки на ногах!!!!!! Зыррама джырт гоз!!!!!!
Тюрки даже за людей не считают!!!! И смеются над вашим языком!!!! Сама была этому свидетелем!!!!!! Остураг тюркляр!!!!!!! ТФУУУ на вас всеех!!!!!! Пришел бы суд БОЖИЙ И ОСУДИЛ БЫ ВАС ....ТРИ НАРОДА БОГ ВСЕСИЛЬНЫЙ ОЧЧЕНЬ СТРОГО!!!!!! ОЧЧЕНЬ СТРОГО!!!!!!!!
Коварный Узеир Гаджибеков украл Вагаршапатский танец у Арно Бабаджаняна, который последний написал в 1944 году, и в 1910 году включил в свою оперетту Мешади Ибад!
+Eldarpiri Deystvitelno, stranno. Arno Babadjanyan bil seryoznim kompozitorom. I sovsem ne bil ogranichennim nacionalistom.. Izvestno ix zamechatelnoe sovmestnoe tvorchestvo s neprevzoydennim Muslimom Magomaevim, kotoriy, nesomnenno, gordost Azerbaydjana.V to vremya poka eshe ne bilo karabakhskogo konflikta mejdu armayanmi i azerbaydjancami i glupoy sorevnovatelnosti: chya dolma , Sari gelin i dr. No v sluchae s Vagarshapatskim tancem teryayus v dogadkax. Tolko esli on pisal podrajaniye Uzeiru Gadjibekovu cherez 34 goda posle poyavleniya muzkomedii Meshadi Ibad. A za period nashey nespokoynoy istorii s konfliktom mejdu armyanami i azerbaydjancami iz-za Karabakha, kotoriy dlitsya bolee chetverti veka, vidimo proizvedeniye perestali prepodnosit kak podrajaniye.
с тех пор как хаев заселили на наши земли мы как на пороховой бочке жили все это время 1905 1918 1988......это годы мусульмано-хайской войны......а что касается музыки ....мы даже к хлебу не прикасаемся ,если его коснулась рука хая....
Арзу, я понимаю Ваше желание выгородить Арно Бабаджаняна. Он действительно был очень уважаемым и толковым композитором и вклад его в музыкальное дело преуменьшать грешно. Однако факты говорят против ваших предположений. "Вагаршападский танец" нота в ноту, интонация в интонацию повторяет Гаджибекова. Сам Бабаджанян говорил, что слышал, как его бабушка напевала эту мелодию и это дало ему возможность ее "овагаршапатить". Так что никакое это не подражание, а точная копия оригинала. И, как видим, вопросы к Бабаджаняну по поводу этой мелодии возникали еще при его жизни, когда армяне и азербайджанцы были еще "братьями" (надеюсь, вы понимаете, что хайи никогда азербайджанцев братьями не считали...)
This is just Babajanyan’s vagharshapat par it was recorded by Komitas in 1906, and the song is even older than that, it comes from the Armenian village vagharshapat. This is in no way an Azeri song.
hovhannes nercessian Uzeyir bey Abdul Huseyn oglu Hajibeyov was an Azerbaijani composer, conductor, publicist, playwright, and social figure. He is recognized as the father of Azerbaijani composed classical music and opera. Born: 18 September 1885, Agjabadi, Azerbaijan Died: 23 November 1948, Baku, Azerbaijan If Not That One, Then This One, also known as Mashadi Ibad, is a 1910 operetta in four acts written by Azerbaijani composer Uzeyir Hajibeyov. The comedy reflects social and everyday life relations in prerevolutionary Azerbaijan. First performance: 25 April 1911 Composer: Uzeyir Hajibeyov Arno Babajanian was an Armenian composer and pianist during the Soviet era. Born: 22 January 1921, Yerevan, Armenia Died: 11 November 1983, Moscow, Russia This composition composed by Uzeyir Hajibeyov for the Music Comedy If Not That One, Then This One, also known as Mashadi Ibad. Arno Babajanian didn't compose it! PLEASE SHARE THIS INFO!
Vusala Akhundova I never said Arno Babajanyan created it, I said Komitas aka Soghomon Soghomonyan recorded this Armenian folk song from the town Vagharshabat in 1906. Komitas him self did not compose the piece. He did what he had been doing for most of his life, visiting villages and writing the notes of the various folk songs he heard to preserve Armenian music. This would mean that the piece is in fact much older than Komitas. Now Arno Babjanyan’s version of the song was essentially a version of the song for a piano soloist, whereas Komitas’ was usually performed by 2-4 violinists cellists (give or take the amount of both).
Vusala Akhundova it is highly possible especially when considering how Azeris and Armenians lived in close proximity to each other, that Uzeyir bey Abdul Huseyn oglu Hahibeyov also made his own rendition of the piece for his opera. But in no way is this an Azeri piece of music. This is a pure Armenian folk song, following the B flat E flat key signature pattern that most Armenian music does.
Vusala Akhundova Komitas.am-Throughout his creative life, Komitas devoted himself to the study, purification, professional treatment, and revival of samples of Armenian folk art, in the process doing so incredibly much for his native culture. In 1906 Komitas wrote and performed a cycle of dances for piano in Paris. It is an exciting and original composition, where the piano first appears as the Master's main means of performance. However, it is interesting that, while creating these six bright, colorful pieces, Komitas never thought of any masterly traditions of performance, technical refinement, magnificence of chord texture, or filigree passages. Nevertheless, one cannot help admitting the gorgeousness of Komitas' textures. In this work he appears, first of all, as an ethnographer, whose task is to realize the richness of Armenian folk dances while preserving, as much as possible, the specific timbres of some national instruments. Louis Laloi, a music critic and professor at the Sorbonne, has said of Komitas' dances, "Armenian dances are as natural and flexible as they are lively and able to express soul movements and intonations through the corresponding bodily movements and harmonic forms... The rhythm is supple and wealthy: live images of natural harmony and melody, which vividly recreate noble sculptured forms. These tunes are harmonized by Komitas with a rare skill and excellent taste". In the six diverse pieces of the cycle, the composer reveals a magnificent view of the Armenian art of dancing. The title of each piece includes not only the name of the dance itself, but also that of the area from which it originates. With his authorial directions, the composer strove to get both the performer and listener nearer to the setting of the action, as well as the appearance and character of certain dance movements. The first piece, "Erangi of Yerevan", achieves some of the grace, elegance and tenderness of a woman's dance. There is quite a different kind of melody in "Unabi of Shushi". The composer's direction reads, "Delicately and majestically". Here the extensive sweet melody consists of various changes of two melodic fragments, ably interlaced. In the following two dances, "Marali of Shushi" and "Shushik of Vagharshapat", the timbres and characters of folk instruments are rendered vividly. In the former, Komitas imitates the sound of the "dap", a sort of Armenian tambourine, widely used by peasants as accompaniment. In the latter, the listener can hear imitations of the tar, a plucked string instrument. "Yet - arach of Erzerum", a men's round dance, is distinguished by its special coloring. The composer skillfully imitates both the shvi and the dhol, Armenian folk instruments. The former is a sort of shepherd's reed pipe and the latter one a kind of hand-held percussion instrument played without sticks. The worthy finale of the cycle is "Shoror of Erzerum", a heroic men's dance. The author clearly marks that it should be performed "majestically and heroically" as well as with an imitation of the shvi and the dhol, which usually accompanied that dance during folk festivities. This piano cycle of six dances, being an original work of art, is of great scientific and ethnographic interest. Moreover, the pieces have been a source of inspiration for the following generations of composers. "Vagharshapat Dance" in Sergey Aslamazian's treatment for string quartet has been part of the concert repertoire of some quartets for a long time. Moreover, in a recent piano arrangement by the prominent Armenian composer Arno Babajanian, his "Vagharshapat Dance" has become a prominent example of the art of world music.
En sevdiyim mahnı😄😄😄
Одно слово и столько прекрасной музыки!!!!! Bir söz!!!!!! Və elə gözəl musigiii!!!!!!!!!!!!!!!!
С начало определитесь с тем кто стыбзил у Гаджибекова Арно или Комитас а потом уже оспаривайте патент вора.У Арно?Этот фильм крутили по всем социалистическим странам даже в индии а потом он вошёл золотой фонд СССР и Арно вежлего промолчал да?)))))))))))))
Когда это опера появилось Арно ещё не было 1913 год и если скажите хачатрян ему было 10 лет а комитас не компазитор он мог бы на НоТы ставит
Пусть попробуют такого создать, так петь , какой нибудь другой народ. Этого невозможно копировать. Это Бог дал тюрскому народу и народом Азербайджана.
Ай ИДИООТ!!!!! Чем ты хвастаешься????!!!!! Эти люди,которых ты ,смотришь не были такими ,как вы,подлецы, сейчас!!!!! Джырт гоззах!!!! Я, ненавижу вас ВСЕЕЕХ....на сегодня!!!!!!! Алчаглар!!!!!! Вы же недостойны, даже их пылинки на ногах!!!!!! Зыррама джырт гоз!!!!!!
Тюрки даже за людей не считают!!!! И смеются над вашим языком!!!! Сама была этому свидетелем!!!!!! Остураг тюркляр!!!!!!! ТФУУУ на вас всеех!!!!!! Пришел бы суд БОЖИЙ И ОСУДИЛ БЫ ВАС ....ТРИ НАРОДА БОГ ВСЕСИЛЬНЫЙ ОЧЧЕНЬ СТРОГО!!!!!! ОЧЧЕНЬ СТРОГО!!!!!!!!
@@redmixiaomi3623 Лично я на суд не приду. Иисус говорит: Верующий в Меня на суд не приходит .
@@redmixiaomi3623 я хвалюсь только Иисусом Христом !
@@Retro17 Ай дураак... ЕШУА -ПРОРОК!!!! А на суд придут всеее!!!!! И только БОГ ВСЕСИЛЬНЫЙ ТВОРЕЦ БУДЕТ СУДИТЬ ВСЕЕХ!!!!
Salam bu mahninin adini bilen var??
Suppperrrr Alalh rəhmət eləsin ölənlərə amin
Kim ölüb ki
Yasha
Menimde xoşuma gələn mahnıdı hamsını əzbər bilirəm
☝️🙌🙌🙌🙌🙌🙌🙌👏👏👏👏👏
😍😍😍👍
Ну ничего нет своего. Это нарушение авторских прав. Музыка из фильма "Не та, так эта", если не ошибаюсь ,он вышел в 50ых годах прошлого столетия
Коварный Узеир Гаджибеков украл Вагаршапатский танец у Арно Бабаджаняна, который последний написал в 1944 году, и в 1910 году включил в свою оперетту Мешади Ибад!
+Eldarpiri Deystvitelno, stranno. Arno Babadjanyan bil seryoznim kompozitorom. I sovsem ne bil ogranichennim nacionalistom.. Izvestno ix zamechatelnoe sovmestnoe tvorchestvo s neprevzoydennim Muslimom Magomaevim, kotoriy, nesomnenno, gordost Azerbaydjana.V to vremya poka eshe ne bilo karabakhskogo konflikta mejdu armayanmi i azerbaydjancami i glupoy sorevnovatelnosti: chya dolma , Sari gelin i dr. No v sluchae s Vagarshapatskim tancem teryayus v dogadkax. Tolko esli on pisal podrajaniye Uzeiru Gadjibekovu cherez 34 goda posle poyavleniya muzkomedii Meshadi Ibad. A za period nashey nespokoynoy istorii s konfliktom mejdu armyanami i azerbaydjancami iz-za Karabakha, kotoriy dlitsya bolee chetverti veka, vidimo proizvedeniye perestali prepodnosit kak podrajaniye.
Arzu elə ona görə deyirlər də ki, onların lap yaxşısının ...
с тех пор как хаев заселили на наши земли мы как на пороховой бочке жили все это время 1905 1918 1988......это годы мусульмано-хайской войны......а что касается музыки ....мы даже к хлебу не прикасаемся ,если его коснулась рука хая....
Арзу, я понимаю Ваше желание выгородить Арно Бабаджаняна. Он действительно был очень уважаемым и толковым композитором и вклад его в музыкальное дело преуменьшать грешно. Однако факты говорят против ваших предположений. "Вагаршападский танец" нота в ноту, интонация в интонацию повторяет Гаджибекова. Сам Бабаджанян говорил, что слышал, как его бабушка напевала эту мелодию и это дало ему возможность ее "овагаршапатить". Так что никакое это не подражание, а точная копия оригинала. И, как видим, вопросы к Бабаджаняну по поводу этой мелодии возникали еще при его жизни, когда армяне и азербайджанцы были еще "братьями" (надеюсь, вы понимаете, что хайи никогда азербайджанцев братьями не считали...)
Bəs nə qeder nəder toy olacaq😄😄😄😄
Bes ne vede deyir yani nevaxt
əsl şedevr
Мы все Мяшяди Ибады!!!! А Рюстям бекы ...сидят в правительстве!!!!
J
👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍👍
super
This is just Babajanyan’s vagharshapat par it was recorded by Komitas in 1906, and the song is even older than that, it comes from the Armenian village vagharshapat. This is in no way an Azeri song.
hovhannes nercessian Uzeyir bey Abdul Huseyn oglu Hajibeyov was an Azerbaijani composer, conductor, publicist, playwright, and social figure. He is recognized as the father of Azerbaijani composed classical music and opera.
Born: 18 September 1885, Agjabadi, Azerbaijan
Died: 23 November 1948, Baku, Azerbaijan
If Not That One, Then This One, also known as Mashadi Ibad, is a 1910 operetta in four acts written by Azerbaijani composer Uzeyir Hajibeyov. The comedy reflects social and everyday life relations in prerevolutionary Azerbaijan.
First performance: 25 April 1911
Composer: Uzeyir Hajibeyov
Arno Babajanian was an Armenian composer and pianist during the Soviet era.
Born: 22 January 1921, Yerevan, Armenia
Died: 11 November 1983, Moscow, Russia
This composition composed by Uzeyir Hajibeyov for the Music Comedy
If Not That One, Then This One, also known as Mashadi Ibad.
Arno Babajanian didn't compose it!
PLEASE SHARE THIS INFO!
Vusala Akhundova I never said Arno Babajanyan created it, I said Komitas aka Soghomon Soghomonyan recorded this Armenian folk song from the town Vagharshabat in 1906. Komitas him self did not compose the piece. He did what he had been doing for most of his life, visiting villages and writing the notes of the various folk songs he heard to preserve Armenian music. This would mean that the piece is in fact much older than Komitas. Now Arno Babjanyan’s version of the song was essentially a version of the song for a piano soloist, whereas Komitas’ was usually performed by 2-4 violinists cellists (give or take the amount of both).
Vusala Akhundova it is highly possible especially when considering how Azeris and Armenians lived in close proximity to each other, that Uzeyir bey Abdul Huseyn oglu Hahibeyov also made his own rendition of the piece for his opera. But in no way is this an Azeri piece of music. This is a pure Armenian folk song, following the B flat E flat key signature pattern that most Armenian music does.
hovhannes nercessian just show me an evidence about that recording ☺️
Vusala Akhundova Komitas.am-Throughout his creative life, Komitas devoted himself to the study, purification, professional treatment, and revival of samples of Armenian folk art, in the process doing so incredibly much for his native culture. In 1906 Komitas wrote and performed a cycle of dances for piano in Paris. It is an exciting and original composition, where the piano first appears as the Master's main means of performance.
However, it is interesting that, while creating these six bright, colorful pieces, Komitas never thought of any masterly traditions of performance, technical refinement, magnificence of chord texture, or filigree passages. Nevertheless, one cannot help admitting the gorgeousness of Komitas' textures. In this work he appears, first of all, as an ethnographer, whose task is to realize the richness of Armenian folk dances while preserving, as much as possible, the specific timbres of some national instruments.
Louis Laloi, a music critic and professor at the Sorbonne, has said of Komitas' dances, "Armenian dances are as natural and flexible as they are lively and able to express soul movements and intonations through the corresponding bodily movements and harmonic forms... The rhythm is supple and wealthy: live images of natural harmony and melody, which vividly recreate noble sculptured forms. These tunes are harmonized by Komitas with a rare skill and excellent taste".
In the six diverse pieces of the cycle, the composer reveals a magnificent view of the Armenian art of dancing. The title of each piece includes not only the name of the dance itself, but also that of the area from which it originates. With his authorial directions, the composer strove to get both the performer and listener nearer to the setting of the action, as well as the appearance and character of certain dance movements.
The first piece, "Erangi of Yerevan", achieves some of the grace, elegance and tenderness of a woman's dance. There is quite a different kind of melody in "Unabi of Shushi". The composer's direction reads, "Delicately and majestically". Here the extensive sweet melody consists of various changes of two melodic fragments, ably interlaced. In the following two dances, "Marali of Shushi" and "Shushik of Vagharshapat", the timbres and characters of folk instruments are rendered vividly. In the former, Komitas imitates the sound of the "dap", a sort of Armenian tambourine, widely used by peasants as accompaniment. In the latter, the listener can hear imitations of the tar, a plucked string instrument.
"Yet - arach of Erzerum", a men's round dance, is distinguished by its special coloring. The composer skillfully imitates both the shvi and the dhol, Armenian folk instruments. The former is a sort of shepherd's reed pipe and the latter one a kind of hand-held percussion instrument played without sticks.
The worthy finale of the cycle is "Shoror of Erzerum", a heroic men's dance. The author clearly marks that it should be performed "majestically and heroically" as well as with an imitation of the shvi and the dhol, which usually accompanied that dance during folk festivities. This piano cycle of six dances, being an original work of art, is of great scientific and ethnographic interest. Moreover, the pieces have been a source of inspiration for the following generations of composers. "Vagharshapat Dance" in Sergey Aslamazian's treatment for string quartet has been part of the concert repertoire of some quartets for a long time.
Moreover, in a recent piano arrangement by the prominent Armenian composer Arno Babajanian, his "Vagharshapat Dance" has become a prominent example of the art of world music.
Excellent Armenian music as performed by Azeris. Great job.
This music is production of Üzeyir Hajibeyov which writed in 1910.
@@mahammadmammadli7 Yes. Hajibeyov arranged a Classical Armenian melody first composed by Komitas.
@@ՀովսեփԽաշունի proof?
@@ՀովսեփԽաշունի Yeah that is why he has Azerbaijan name. He was from Azerbaijan.
Ok,get out🐍