City through the eyes of Jazz

27-09-2009 15:14

Film – 4 parts

(For staging the play require full version – the central movie camera)

Beginning  and  Final

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Exercise – Andrej Yagodzinsky by Chopin

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Love Duet  «Rain and Garden»

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Credo – Daniel Kramer

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Animated piano – Didier Loskwood  and  Daniel Kramer

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Dance – Daniel Kramer

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Memories of tomorrow - Daniel Kramer

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Memories of tomorrow - Keith Jarrett

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Andrej Jagodzinski
Didier Lockwood

Performance «City eyes of Jazz»  -  The order of music pieces

01 01-   Advertisement
02 01    Debut
03 1      Exxercise -Andrej Yagodzinsky by Chopin
04 2     Balerina – by Moricone
05         13 notes by Nino Rota
06 3     Chaplin  – Jazz
07 4     Little clown- by Charles Chaplin
08 5     Memories of tomorrow – Daniel Kramer
09 6     Circus -  by Moricone
10 7      Little clown and Balerina – by Moricone
11 8       Street – small  percussion
12          Stop Stop Stop
13          30 sec – by Nno Rota
14         Solo – Rumianzev
15 9     Rain and Garden – Rumiantsev – by Vivaldi
16 10   Credo – Daniel Kramer
17 11    Street – Nikolas Ogrizkov
18 12    Simphonie  -Didier Loskwood – Daniel Kramer
19 13    Primadonna and impresario – by Ray Charles
20 14   Maria Lao -Nikolas Ogrizkov
21          Final
22         Saluts – by George Gershvin
23        Adieu – Wonderful World  – by Duk Elington


Daniel Kramer

«…His technics and temperament are great. But such products bear in themselves a huge concentration of the information, and classical ballet was always put on «simple»music of such composers, as Delib and Minkus. Every pas was done on one note. Jazz is an improvisation, freedom of imagination. It is an inexhaustible source of creativity …» – Anna

Keith Jarrett

NEW performance

for  Next  Performance

“Four episode and city life” – This is  …
«4 Episodes of City Life»
Writer painted a city which просыпаясь morning shows paintings of people’s lives.
And we look at these shining window houses…
1.  Exercise
If you go to ballet class before the commencement of this lesson, you can see the present  “Exercise”, a little naughty, because each ballerina  individual.

Frederic  Chopin, paints bright opens freedom fantasies and relations between or around Ballet machine.  Such  joyous morning – here is.

2.  Rain & Garden  -  “Дождь и сад”

- This love Absolut.

Bella Ahmadulina

Where rain where garden-does not distinguish. Two elements here wedding is going.  Their confluence separate in sight not policy-making eyewitness.
Both embrace that palm cant push! They are not visible honeyed the collapse of fruit crush  that arms.
The whole garden in the rain! Entire rain garden! Die rain garden and each other,  leaving me to decide the fate of the winter induced in the South.
Soul wants and must tolerate pleasure twice: suffer from the garden and rain and compassionate rain and garden.

Antonio Vivaldi, voice ringtone rain garden, which smell cannot live without a friend … us sings saxophone.

3.  Credo
-  I believe that Yes!

They. Their passion, their constancy … this constant movement that…

“ Credo ”- this is where contemporary rhythms and present zoning images meet with classic harmony and  melody.  Bach and Beethoven -  is the reframing   “The third period of”  or “cross-over” which is only Daniel Kramer, and which he retained and further developed in his today’s creativity. This play is written in the very beginning of creative ways musician. Even then he knew that would devote themselves to blend of genres, unite different styles of classical and jazz music, creating a new, of whom organic musical language, an original musical Esperanto.

4.  Memories of Tomorow
-  This episodes from the life of one family memories tomorrow … recollection of tomorrow – is what we want to see, noting the warm light in the window at home.  This is an ideal picture of the family.

“Memories Of Tomorrow” - This is one of the favorite themes Kramer; written and produced Keith Jarrett them in the famous concert in Köln, it was much arrange by Kramer, who changed the not so much sine, how many system plays shaped, with one hand, on the other religious-more classic than the author himself, nature, while preserving the improvisation rhythmic and modern jazz.


«… The second department will be devoted to the combination of jazz and classical ballet with the elements of contemporary choreography. In the specially created for the festival project of Anna Plisetskaya City through the eyes of Jazz” are combined the elements of classical ballet and jazz compositions».

Culture News – site

Conversation in two acts (the Jazz through the prism of the city and About arts – to live and create)

The first act:   The Jazz through the prism of the city.
The second act:   About arts – to live and create.
The character:  Anna Plisetskaya

She argues interestingly on art and admires Bella Akhmadullina’s poetry, she is beautiful and temperamental, she is full of creative plans and is ready to surprise the Moscow public with them, she is Anna Plisetskaya

On March, 23rd,  a concert took place in a concert hall of Tchaikovsky,  in Moscow, where ballet met jazz, plasticity –  music, and classical etudes and etchings – improvisation. The show is called – “City by jazz eyes” , the director-producer and the choreographer is Anna Plisetskaya.

- Artistic gathering: Good afternoon, Anna. Give a detailed description of your last project – “City by jazz eyes”.

- Anna Plisetskaya: The starting point of this musical fiesta was the unusual and creative offer of Daniel Kramer, the masterly pianist possessing absolutely unique techniques. The result was the successful and creative alliance, as Daniel has deserved his authority amongst musicians due to his talent, his attitude to work and decency. He had an idea – to create something absolutely new, to merge together different musical genres in a theatrical performance. This thought seemed to me interesting, and I, developing Daniel’s idea, wrote the following scenario. Imagine yourself an abstract city where the most different people live – they drink coffee, read newspapers, they are comical and tragic, they fall in love, meet, break up, – but they are united by one thing – the love for jazz. Dance and music – are the tools that help people tell about their thoughts and feelings. There are bright characters amongst them: the blind musician who is performed by saxophonist Anton Rumjantsev, the mayor – performed by Daniel Kramer, little Charlie Chaplin … In general, that is the theatrically-musical story, which is shown to spectators by people of different professions, amongst them there are: actors of modern ballet, the world champion on art gymnastics (ballet Releve of Saniya Glyzina), step dancers, circus performers. The soloists of classical ballet, of Nikolay Ogryzkova’s troupe and of Academy of ballet under the direction of Maryanna Sedova (previously the ballerina of the Bolshoi theatre) took part in the performance. Background music includes such compositions, as «Memory of tomorrow» and «Credo», written by Daniel Kramer, «the Concert for the big symphonic orchestra» Dide Lokvuda, and also Friderika Chopin’s etudes in Andzhej Jagodzinski’s jazz adaptation.

- AG: This performance unites on one scene ballet and jazz. Why did you, the professional ballerina, want to speak jazz language?

- AP: First, I love music very much. Secondly, the jazz is a special musical style which is very difficult for staging performance as it is necessary to improvise constantly. The western performers due to features of the school improvise freely, unlike our ballet dancers. And, thirdly, it is the meeting with Daniel Kramer. We selected music for this show very carefully. There is a set of directions and intonations in the jazz, we needed melodious compositions where the basic theme would be love story. Tenderness and melody –that is what we were searching for.

- AG: What role is more comfortable and more pleasant for you to act – as the ballerina, the actress, the producer or the director?

- AP: All roles are pleasant and interesting for me to act. As the actress I act in Andrey Zhitinkin’s performance «Anna Karenina»; as the ballerina I worked with Moris Bezhar, Alexey Ratmanski, Nikolay Androsov; now I have acted as the director-producer, the choreographer and a script writer in the ballet-jazz overture « The city through the prism of jazz ». In due season Maria Muljash became my teacher in producing. In Russia, it is being tought rather recently, but one can say safely about Maria: she is every inch a producer– for many years she worked in the hall «Russia», recently received an award «For merits before art». She was the one to give me a powerful impulse to be engaged in producing.

Everything I do- I do professionally. I don’t like amateurish approach to serious things, especially in art and on the stage.

- AG: You travel a lot and visit different cities and countries. What place is more comfortable for you to live and to work in?

- A.P. It’s more comfortable to live in Europe, besides Germanic languages are so close to me. Recently I have visited Singapore, New Zealand and the south of China and I was deeply impressed by those tremendous places. Indeed, I feel myself less tensed near the equator. But to work and to realize yourself creatively I visit Moscow, because here I have the possibility to not only create something new but also to realize my conceptions on the stage that is also very important. There are many extraordinary people in Russia, but the tragedy is that they are not needed. The Government has just forgot about them and don’t provide neither any social guarantee nor any kind of support. Russia is a paradox country: on the one hand there are many talented people who are ready to show themselves and on the other hand their enthusiasm that needs social security doesn’t have it. Nevertheless, there are too many talented people in Moscow and to contact with them is one of the reasons why I live in Moscow.

- AG: You have flirted with different arts – cinema, ballet, theatre. In your opinion, which kind of art is prima inter pares?

- A.P. To my mind there’s no need to compare different kinds of art. They are closely interconnected: its impossible to imagine ballet without music, theatre and cinema – without dramaturgy and accompanying script. It’s possible to talk about things that demand great forces. Let’s suppose, one must start to practice ballet at 9, but dramatic profession doesn’t demand such early preparation. If you want to achieve high results in music education you should start getting it in tender age. So, speaking about different kinds of art you shouldn’t dispart them a lot.

- AG: Many modern festivals as biennale that show modern art to public uncover all inability and inner emptiness of modern art masters –it’s too outrageous and less natural. In your opinion- what does it have to do with?

- A.P. – To me, there are two reasons that specify the essence of Russian modern art. The first one is quiet and very understandable but it can’t show the main point of all that is happenning but it does exist. Moscow is a great megalopolis where people face different domestic problems. Meanwhile, way of life of a modern person has over-passed all possible limits: you always need to run somewhere, do something, hold out for something- and in all these cases you can’t really understand- what you do that for and why. Always being tensed, people just want to relax. They switch on TV and read many novels – just to escape the reality. As for me I haven’t reached that fatigue to read such literature and to look such shoddy TV –shows. However, I hope not to ever come to it. The second reason is deeper and it is connected with the history of our country. It’s very difficult to recover from that shock of October 1917 in Russia. Such strange words as «expropriation» and «enemy of the people», but at the head of the Government there were mobs that ruined the culture. Uniqueness of our country is that our culture could not only survive in spite of all terribles but to declare about itself. Actually the world theatre is based on the Stanislavsky system, and American, European and Japanese ballets were created on the base of the Russian one. Mostly it’s connected with flows of Russian emigration that rejected new regime and finally chose a different country and nostalgia. But there also were those people who came back. Remember poets of the Silver Age – existing in terrible conditions, when there were Government hunting, searches and inquisitions – they were writing their masterpieces. These masterpieces became cultural assets and made Russia a country reached in talents. Unfortunately, all these cultural flashes don’t exist anymore. What we have now – is not exactly clear. The catastrophe has happened on the genetic level and only now we get consequences.

- AG: In the end – two questions. The first one is : what are those three books that you will take to the round-the-world trip?

- A.P. Perhaps, it will be O’ Genry stories and some works written by Lev N. Tolstoy because I like him very much and those books that I have not managed to read yet are waiting on my table. Those books are on psychology and philosophy about masons.

- AG: What an interesting choice. And my second question: can love to art exist without love to life?

- A.P. Interesting question! I think, it could be. The professional should always work despite circumstances. Sculptor Philipp Rukavishnicov’s father – a very famous person – said to him one fine day : «Philipp, it doesn’t matter whether you have inspiration or not . You should always deal with your own matter”. Speaking about me its impossible. I create and get a pleasure of it only when I am in a good mood, when I have drive and special emotional charge. You can love life differently: very simple things as sun, sea, sky- give the necessary impact, to see the life positively and to create. When you have the possibility to see the world and to travel- you should use it. And all these give me more force, energy and desire to deal with what I like most.

- AG: Then, good luck , and what is more important – always be in a good mood.

-A.P: Thanks.

The interview with Anna Plesetskaya was held by Arthur Grand.