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Schematical illustration of a plan view of a cathedral, with the colored area showing the nave

Romanesque nave of the abbey church of Saint-Georges-de-Boscherville, Normandy, France has a triforium passage above the aisle vaulting

Late Gothic Fan vaulting (1608, restored 1860s) over the nave at Bath Abbey, Bath, England Suppression of the triforium offers a great expanse of clerestory windows.

In Romanesque and Gothic Christian abbey, cathedral basilica and church architecture, the nave is the central approach to the high altar, the main body of the church. "Nave" (Medieval Latin navis, "ship") was probably suggested by the keel shape of its vaulting.^[1] The nave of a church, whether Romanesque, Gothic or Classical, extends from the entry — which may have a separate vestibule, the narthex — to the chancel and is flanked by lower aisles^[2] separated from the nave by an arcade. If the aisles are high and of a width comparable to the central nave, the structure is sometimes said to have three naves.

Record-holders[link]

• Longest nave in Denmark: Aarhus Cathedral, 93 metres (305 ft).
• Longest nave in England: Winchester Cathedral, Winchester (Anglican), 85 metres (279 ft).
• Longest nave in Ireland: St Patrick's Cathedral, Dublin. 91 metres (299 ft) (externally)
• Longest nave in France: Bourges Cathedral, 91 metres (299 ft), including choir where a crossing would be if there were transepts.
• Longest nave in Germany: Cologne cathedral, 58 metres (190 ft), including two bays between the towers.
• Longest nave in Italy: St Peter's Basilica in Rome, 91 metres (299 ft), in four bays.
• Longest nave in Spain: Seville, 60 metres (200 ft), in five bays.
• Longest nave in the United States: Cathedral of Saint John the Divine, New York City, United States (Episcopal), 70 metres (230 ft).
• Highest vaulted nave: Beauvais Cathedral, France, 48 metres (157 ft) high but only one bay of the nave was actually built but choir and transepts were completed to the same height.
• Highest completed nave: Rome, St. Peter's, Italy, 46 metres (151 ft) high.
• Highest completed vaulted nave: Cathedral of Milan, Italy, 45 metres (148 ft) high.

See also[link]

• Abbey, with architectural discussion and groundplans
• Cathedral architecture
• Cathedral diagram
• List of highest church naves

References[link]

Fernando Luiz Mattos da Matta, better known as DJ Marlboro, is a Brazilian DJ.

DJ Marlboro is one of the originators of the Brazilian "funk" music, which is how a crossover between freestyle and rap music genres is known in Brazil. His first LP, Funk Brasil (1989), marks the beginning of the Brazilian "funk" movement, initially with versions of rap and freestyle hits from American artists, especially the Two Live Crew ("Do Wah Diddy" became "Melô da Mulher Feia" and "One and One" became "Melô dos Números"), sung in Portuguese.

He got the idea of making Portuguese versions of American songs by paying attention to how people at parties that played freestyle music in Rio de Janeiro, known as "baile funk," would create and sing their own versions of the songs, in Portuguese, as they couldn't understand English, and how they would nickname the songs as "melô do..." ("the ... song"), since the original name of the songs, in English, was too difficult for them to pronounce and memorize. The best example is his first song, "Melô da Mulher Feia" ("song of the ugly woman"), which was how patrons of the "baile funk" would call the Two Live Crew's version of "Do Wah Diddy," as they would sing along "mulher feia chupa o ... e dá o ..." ("ugly woman sucks ... and gives ...") to the Two Live Crew's tune. He then made a PG version of the song and recorded it, and was a smash hit on the radio, prompting him to create more songs and record his first album. Later on, Marlboro and others started writing their own songs, and he released several albums.

He used to live in a district of the Rio de Janeiro city that was very distant, nicknamed "Marlboro Country" by his peers, who started calling him "Marlboro," and the nickname stuck.

DJ Marlboro is the host and producer of the radio show "Big Mix in Rio". DJ Marlboro was introduced to a worldwide audience In 2004 when German journalist, record label owner and fellow DJ, Daniel Haaksman formed Man Recordings and recruited both DJ Marlboro and Edu-K and DJ Marlboro - creating a link between South American and European artists.^[1]

DJ Marlboro credits the resurgence of funk fever in Brazil to the cyclical nature of musical fads, saying in his 23 years as a DJ, he's witnessed the funk explosion several times.^[2] Brazilian bailes, well attended dance parties that played American soul, disco, and funk music, featured heavy bass sounds and light systems. DJ Marlboro’s Portuguese rapping in his 1989 LP “Funk Brazil” helped introduce Portuguese music into these bailes, where the heavy bass sounds became a platform for this new sound.^[3] As a result, by the mid-1990s most of the music played by funk DJs was produced in Brazil.^[4] Currently, DJ Marlboro is the resident DJ at São Paulo's Lov.e Club.^[5]

DJ Marlboro maintains that “funk is a way of expression that was born from the common people”.^[2] To him, funk is at its best when most people are unaware of it, preventing the exploitation of artists. DJ Marlboro expresses the importance of its underlying culture by asserting that the movement need not be glorified or globally successful. He insists that funk will always continue to be played, whether the world can hear it or not. ⁵ He urges listeners to understand that it is a musical movement that has sprung from culture and a passion to tell the truth; not from the need to accept and nationalize music from other parts of the world, particularly the United States. He acknowledges that recordings are not a priority for funk artists, because the point is to go the bailes and dance.^[6]

DJ Marlboro embraces and supports the "undergroundness" of the Baile Funk scene, particularly the music played at the Bailes in Brazil. In an interview, DJ Marlboro says, "The bailes in Rio have survived such a long time because we do the bailes to please the public. We work with music that doesn't need to recognised or be successful in the rest of the world. We play tracks that are popular in the bailes full stop. We don't need media and marketing." He embraces the aspect of funk and certain artists being unknown because that keeps this genre alive in the streets, despite the resistance from the media and upperclass culture. The resistance from the upperclass and police stems from the upper class considering this music to be strictly pornographic, offensive, and sexually explicit. DJ Marlboro is a main public face trying to reverse that opinion and have the people look deeper into the true origins and messages of the music.^[7] As stated in an interview with DJ Marlboro in 2003, "Chuck D refers to rap as the black CNN. In many respects Rio or baile funk could be referred to as favela CNN. That is, it's used as a medium to convey how the people who live in the Brazilian favelas really feel using their own language, idioms and slang."^[7] This helps empower these artists, and while they may not gain national acclaim, they get the respect of their fans for delivering both a real sound and message. This is also seen through the lack of major record deals in the world of funk music.^[8]

He knows first hand the hardships of being a funk artist, in a separate interview he says, "We suffer a lot of persecution. At one recent baile, the police came in and shut it down... My sound systems have bullet holes in them from police attacks.”^[8] DJ Marlboro has transcended this situation, however, as he has now become international and has teamed up with recognized artists such as M.I.A..^[9] Through these various collaborations, DJ Marlboro has played a significant role in increasing the popularity of funk carioca not only within Brazil, but at the global level as well. In fact, he has been one of the main players in taking funk abroad, playing shows throughout Europe (Britain, Germany, France), The United States, and even China.^[10] Marlboro's sets have been in demand in some of the major electronic festivals in the world, festivals such as Sonar in Spain, Brasil 40 Degrees in London, Summer Stage Central Park in New York, Tim Festival in Rio, Sonarsound in São Paulo and Elektronika in Belo Horizonte.^[11]

According to an interview with DJ Marlboro in 2003, "DJ Marlboro believes in which keeping funk discreet to the public, may reduce the amount of exploitation within the genre. "The best time for funk is when people don't know about it, for those of us who are funkateers that is".^[7] In relation to the exploitation of Funk, he mentioned that people view funk as "an image of women with big butts, you never see the many sides to funk, so people look and they think that funk is pornographic, funk is violent... but funk is all of this, it's violent, romantic, and playful."^[7] He embraces the baile funk scene in Rio, because he enjoys pleasing the public. It is assumed that individuals that are new to Funk genre just assume that Baile Funk is just associated with pornographic notions. According to an article on Rio Baile Funk: Favela Booty beats, "Baile funk is nothing like that. This is raw, bare-bones, hooky but proudly unmelodic stuff, recorded on the cheap with 808 drum machines, early samplers, and dusty computers. Rio Baile Funk sounds--and feels, really--like a revelation".^[12]

Accusation of Pedophilia[link]

In 2009 DJ Marlboro was under investigation on account of pedophilia. There was a criminal investigation in Rio de Janeiro, Brazil in which DJ Marlboro was suspected of sexually abusing a four-year-old girl. After the investigation he was not charged with any crimes.^[13]

References[link]

Giorgio Gaber, byname of Giorgio Gaberscik (25 January 1939 - 1 January 2003), was an Italian singer-songwriter, actor and playwright. He was also an accomplished guitar player and author of one of the first rock songs in Italian ("Ciao ti dirò", 1958). Together with Sandro Luporini, he pioneered the musical genre known as teatro canzone ("song theatre").

The new underground auditorium of the Pirelli Tower in Milan is dedicated to him.

Biography[link]

Debut[link]

He was born in Milan into a lower middle-class family. His father, Guido Gaberscik, was born in Trieste, when the city was still part of Austria-Hungary,^[1] most probably to Italianized Slovene immigrants from the Gorizia region.^[2][3] The surname Gaberscik is in fact of Slovene origin (Gaberščik).^[4] His mother was from the Veneto region. The two met and married in Veneto and later moved to Milan, where Giorgio was born.

Gaber began to play as rehabilitation for an injury to his hand which required constant but not strenuous activity to recover his motor skill. Since his health as a child was not the best and his older brother Marcello played guitar, he was encouraged to play as well. The outcome was good both in terms of his health and artistically, and at only fourteen years of age he was engaged to play at a New Eve's party and earned his first paycheck of 1,000 lire.

Subsequently he began to frequent the Santa Tecla, a venue in Milan where he had the chance to meet musicians of the time, including Luigi Tenco, Gianfranco Reverberi, Adriano Celentano, Ricky Gianco, and Mogol, who obtained a contract for Gaber with Dischi Ricordi. He then played with the Rocky Mountains Old Time Stompers (replacing Tony Dallara who had left to pursue a solo career) and with Rolling Crew.

Because neither Tenco nor Gaber were yet members of the Italian Society of Authors and Publishers they could not trademark the song "Ciao ti dirò" ("I'll Say Hi to You", inspired by Elvis Presley's "Jailhouse Rock"), which was signed off by Giorgio Calabrese and Giampiero Reverberi despite being composed by Tenco and Gaber.

The two went on to continue writing music together, developing at the same time a close friendship. In 1958 they toured Germany together with Adriano Celentano, Enzo Jannacci, Paolo Tomelleri e Gianfranco Reverberi.

Gaber paired up with Enzo Jannacci as I Due Corsari ("The Two Privateers"), who made their debut at the end of 1958 with two vinyl singles - "Come Facette Mammeta", a classic song of Neapolitan humour, and "Non occupatemi il telefono" ("Don't Hog the Telephone"). They continued to release singles with Dischi Ricordi throughout the following year, and in 1960 released their first album, Giorgio Gaber - Enzo Jannacci.

After a sentimental-artistic companionship with singer and actress Maria Monti, he married Ombretta Colli in 1965, then a student of languages (Chinese and Russian) at the University of Milan.

He took part to Festival di Sanremo four times, with the songs "Benzina e cerini" ("Petrol and Matches") in 1961, "Così felice" ("So Happy") in 1964, "Mai, Mai, Mai Valentina" ("Never, Never, Never Valentina") in 1966 and "...E allora dai" ("...Well Come On Then!") in 1967.

[edit] Il signor G

In 1969 he set one of his best known successes, "Com'è bella la città" ("How Beautiful the City Is"), an example of the introduction of social matters in a song. The following year, he showed at Piccolo teatro his first ediction of Il Signor G ("Mister G"), a recital he repeated in many Italian squares.

In 1974 he was given the Premio Tenco in the first edition of that musical award. Later Gaber also received the Targa Tenco in 2001 for his song "La razza in estinzione" ("The Dying Race") and in 2003 for the album Io non mi sento italiano ("I Don't Feel Italian"). After the Tenco award Gaber abandoned television and began to tour only in theatres, as one of the founders of the teatro canzone genre. He would appear again in TV, although sporadically, only in the 1990s and early 2000s.

Giorgio Gaber died, after a long illness, on 1 January 2003 in his country house in Montemagno near Camaiore (Lucca, Tuscany). He is buried in the Cimitero Monumentale in Milan.

Discography[link]

Giorgio Gaber live in concert

• Il signor G (1970)
• I borghesi (1971)
• Dialogo tra un impegnato e un non so (1972)
• Far finta di essere sani (1973, studio)
• Far finta di essere sani (theatre recording, 1973–74)
• Anche per oggi non si vola (1974)
• Libertà obbligatoria (1976)
• Polli di allevamento (1978)
• Pressione bassa (1980)
• Io se fossi Dio (1980)
• Anni affollati (1981)
• Il teatro di Giorgio Gaber (1982)
• Gaber (1984)
• Io se fossi Gaber (1985)
• Piccoli spostamenti del cuore (1987)
• Parlami d'amore Mariù (1987)
• Il Grigio (1989)
• Storie del signor G (1991, VHS)
• Il teatro canzone (1992)
• Ma per fortuna che c'è... Giorgio Gaber (1994)
• Io come persona (1994)
• E pensare che c'era il pensiero (1994)
• E pensare che c'era il pensiero (1995)
• Gaber 96/97 (1996)
• Un'idiozia conquistata a fatica (1997)
• Un'idiozia conquistata a fatica" (1998, 2nd version)
• Gaber 1999/2000 (1999)
• La mia generazione ha perso (2001)
• Io non mi sento italiano (2003)

There is also a large discography of LPs and 45s related to his production of pop music songs and ballads. Ja-Ga brothers (1983) with Enzo Jannacci, is the reprinting of the 1960 recordings of the two singers.

See also[link]

• Enzo Jannacci
• Luigi Tenco
• Adriano Celentano
• Festival di Sanremo

External links[link]

Wikimedia Commons has media related to: Giorgio Gaber

Wikiquote has a collection of quotations related to: Giorgio Gaber

• Far finta di essere... Gaber (Italian)
• Associazione Culturale Giorgio Gaber official website (Italian)

References[link]

Anouar Brahem

Anouar Brahem (in Arabic أنور ابراهم) (born on October 20, 1957) is an oud player and composer. He is widely acclaimed as an innovator in his field.^[1] Performing primarily for a jazz audience, he fuses Arab classical music, folk music and jazz and has been recording since at least 1991, after becoming prominent in his own country in the late 1980s.^[2]

Biography[link]

Brahem was born in Halfaouine in the Medina of Tunis, Tunisia. He studied oud at Tunisia's National Conservatory of Music.^[2] In 1981, he left for Paris in search of new vistas. This enabled him to meet musicians from a variety of genres. He remained there as a composer for four years, notably for Tunisian cinema and theatre. He collaborated with Maurice Béjart for his ballet Thalassa Mare Nostrum and with Gabriel Yared as lutist for Costa Gavras’ film Hanna K..

After a period back in Tunisia in the late 1980s, when Brahem was appointed director of the Ensemble musical de la ville de Tunis, he toured in the USA and Canada and then signed with ECM Records^[2] with whom he has recorded a series of critically acclaimed albums.^[1][3] These include "Thimar", recorded with saxophonist John Surman and bassist Dave Holland^[4][5]

In playing style, Anouar Brahem is often compared to Rabih Abou-Khalil, though his compositions tend to be more mellow and spare. Most often he utilizes an ensemble of three or four musicians. He has collaborated throughout his career and on several albums with other musicians: Tunisian percussionist Lassad Hosni and violinist Bechir Selmi and Turkish clarinetist Barbaros Erköse. He has also performed live concerts with these same ensembles.

Discography[link]

• 1991 - Barzakh (ECM 1432) with Lassad Hosni and Bechir Selmi.
• 1992 - Conte de l'Incroyable Amour (ECM 1457) with Barbaros Erköse.
• 1994 - Madar (ECM 1515) with Jan Garbarek and Ustad Shaukat Hussain.
• 1995 - Khomsa (ECM 1561) with Richard Galliano and Bechir Selmi and Francois Couturier.
• 1998 - Thimar (ECM 1641) with John Surman and Dave Holland.
• 2000 - Astrakan Café (ECM 1718) with Barbaros Erköse and Lassad Hosni.
• 2002 - Charmediterranéen (ECM 1828) with Orchestre National de Jazz and Gianluigi Trovesi.
• 2003 - Vague (ECM) (Selection).
• 2002 - Le Pas du Chat Noir (ECM 1792) with Francois Couturier and Jean-Louis Matinier.
• 2006 - Le Voyage de Sahar (ECM 1915) with Francois Couturier and Jean-Louis Matinier.
• 2009 - The Astounding Eyes of Rita (ECM 2075) with Klaus Gesing, Björn Meyer and Khaled Yassine.

References[link]

External links[link]

• Anouar Brahem’s official website
• Anouar Brahem - musicolog
• Anouar Brahem on ECM Records

Cecilia Bartoli
Cecilia Bartoli in 2008 at the Centre for Fine Arts, Brussels
Background information
Born	(1966-06-04) 4 June 1966 (age 46)
Origin	Rome, Italy
Genres	Traditional, classical, baroque
Occupations	Singer and recitalist
Instruments	Vocals
Website	http://www.ceciliabartolionline.com

Cecilia Bartoli, Cavaliere OMRI (Italian pronunciation: [tʃeˈtʃiːlja ˈbaɾtoli]; born June 4, 1966 in Rome) is an Italian coloratura mezzo-soprano opera singer and recitalist. She is best known for her interpretation of the music of Mozart and Rossini, as well as for her performances of lesser-known Baroque and classical music. She is known for having the versatility to play both soprano and mezzo roles.

Biography[link]

Bartoli is considered a coloratura mezzo-soprano (Koloratur-Mezzosopran) with an unusual timbre. She is one of the most popular (and one of the top-selling) opera singers of recent years.^[1] Bartoli is much liked by the concert-going public for her vivacious on-stage persona,^{[citation needed]} while her lyric voice and investigations of Baroque music have given her considerable recognition even among the non-opera-going public.^{[citation needed]}

Early career[link]

Bartoli's parents, Silvana Bazzoni and Pietro Angelo Bartoli, were both professional singers and gave her her first music lessons. Her first public performance was at age eight as the shepherd boy in Tosca.^[1] Bartoli later studied at the Conservatorio di Santa Cecilia in Rome.^[2]

In contrast to most opera singers, Bartoli came to prominence in her early twenties, unusual in a profession where vocal maturity is typically not achieved until the thirties. She made her professional opera début in 1987 at the Arena di Verona. The following year she undertook the role of Rosina in Rossini's The Barber of Seville at the Cologne Opera, the Schwetzingen Festival and the Zurich Opera earning rave reviews.^[2] She was soon invited by Herbert von Karajan to sing at the Salzburg Festival, and she worked with von Karajan on Bach's Mass in B minor.^{[citation needed]} At this time, she also came to Daniel Barenboim's attention when he saw her performing on a French television tribute to Maria Callas.^{[citation needed]} Working with the conductors Daniel Barenboim and Nikolaus Harnoncourt, Bartoli focused on Mozart roles, such as Zerlina in Don Giovanni and Dorabella in Così fan tutte, and from then on her career has developed internationally.^[2]

In 1990 she made her début at the Opéra Bastille as Cherubino in Mozart's Le nozze di Figaro and her debut at the Hamburg State Opera as Idamantes in Mozart's Idomeneo. This was followed by her La Scala début as Isolier in Le comte Ory in 1991, a performance which solidified her reputation as one of the world's leading Rossini singers.^[2]

Broad success[link]

In 1996, she made her debut at the Metropolitan Opera as Despina in Così fan tutte and returned the following year to sing the title role of La Cenerentola. On this occasion, there was much speculation that she had been secretly miked to boost her volume (as the Met is one of the largest opera houses in the world), but such rumours were steadfastly denied by the Met management.^{[citation needed]} As a result of her acclaimed performance, the role of Angelina has become somewhat associated with her name.^{[citation needed]}

In 2000 she triumphed in another Mozart soprano role, Donna Elvira in Don Giovanni, at the Deutsche Oper Berlin. In 2001 she made a long-awaited Royal Opera House début, taking the roles of Euridice and the Genio in the London stage première of Haydn's L'anima del filosofo.^[2]

Work in Baroque music[link]

In addition to Mozart and Rossini, Bartoli has spent much of her time performing and recording baroque and early classical era music of such composers as Gluck, Vivaldi, Haydn and Salieri. In early 2005, she sang Cleopatra in Handel's Giulio Cesare, a role written for a soprano, but which is in mezzo-soprano range. As her voice has matured it has gained the fullness and "largeness" it was earlier criticized for lacking.^{[citation needed]} She often performs with the baroque Ensemble Il Giardino Armonico.^{[citation needed]}

Work in bel canto[link]

Cecilia Bartoli in 2008 at the Salle Pleyel, Paris

In 2007/08 Bartoli devoted her time to studying and recording the early 19th century repertoire – the era of Italian Romanticism and bel canto – and especially the legendary singer Maria Malibran, the 200th anniversary of whose birth was celebrated in March 2008. The album Maria was released in September 2007 and was number one in the Classical Billboard Charts in the U.S as well as achieving Gold status in Belgium and the Netherlands.^{[citation needed]} In May 2008, Bartoli played the title role written for Malibran in a revival of Fromental Halévy's 1828 opera Clari at the Zurich Opera.^[3] In June 2010 she sang the title role of Bellini's Norma for the first time with conductor Thomas Hengelbrock in a concert in the Konzerthaus Dortmund.^[4] In March 2011, Bartoli toured five Australian cities with two programs, drawn from Sacrificium and Maria.^[5]

Awards[link]

Bartoli was honored as a Chevalier of the Ordre des Arts et des Lettres in 1995 and received the Léonie Sonning Music Prize in 2010.^{[citation needed]} In 2011, she won the Grammy Award for Best Classical Vocal Performance for Sacrificium.^{[citation needed]} In 2012 she was voted into Gramophone Magazine's Hall of Fame.^[6]

Discography[link]

Opera[link]

• Rossini: La scala di seta (1988)
• Rossini: Il Barbiere di Siviglia (1989)
• Mozart: Lucio Silla (1991)
• Rossini: La Cenerentola (1993)
• Puccini: Manon Lescaut (1993)
• Mozart: Le Nozze di Figaro (1994)
• Mozart: La Clemenza di Tito (1995)
• Haydn: Orfeo ed Euridice (1997)
• Rossini: Il Turco in Italia (1998)
• Mozart: Mitridate (1999)
• Haydn:Armida (2000)
• Handel: Rinaldo (2000)
• Mozart: Don Giovanni (2001)
• Bellini: La Sonnambula (2008)
• Halevy:Clari (2008)

Recitals with orchestra[link]

• Rossini Arias (1989)
• Mozart Arias (1991)
• Rossini Heroines (1992)
• Mozart Portraits (1994)
• The Vivaldi Album (1999)
• Cecilia and Bryn (1999)
• Gluck Italian Arias (2001)
• The Salieri Album (2003)
• Opera Proibita (2005)
• Maria (A Tribute to Maria Malibran) (2007)
• Sacrificium (Arias written for castrati) (2009)

Recitals with piano[link]

• Rossini Recital (1990)
• If You Love Me – "Se tu m'ami": Eighteenth-century Italian Songs (1992)
• Arie Antiche (1992)
• Italian Songs (1993)
• Chant D'Amour (1996)
• An Italian Songbook (1997)
• Live in Italy (1998)

Sacred[link]

• Mozart: Requiem (1992)
• Scarlatti: Salve Regina
• Pergolesi: Stabat Mater, Salve Regina (2000)

Cantatas[link]

• Rossini Cantatas Volume 2

Collections[link]

• Cecilia Bartoli Rossini Heroines (1992)
• A Portrait (1995)
• The Art of Cecilia Bartoli (2002)
• Sospiri (2010)

References[link]

Sources[link]

• Blyth, Alan: "Cecilia Bartoli", Grove Music Online ed. L. Macy (Accessed October 20, 2008), (subscription access)
• Wroe, Nicholas, "Classic case of success", The Guardian, 13 October 2001. Retrieved on 3 April 2009
• Swafford, Jan, Nature's Rejects, The music of the castrati., Slate, 9 November 2009

External links[link]

Wikimedia Commons has media related to: Cecilia Bartoli

• Official website
• Bartoli's Record Label
• Cecilia Bartoli at the Internet Movie Database