carbo - latin heart booklet - · pdf file2 ave maria (hail mary) 5’34 music by astor...

JoséCarbó

with Slava & Leonard Grigoryan

Carbo - Latin Heart Booklet 11/04/12 11:24 AM

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1 Uno (One) 4’01Music by Mariano Mores b. 1922, arr. Leonard Grigoryan Words by Enrique Santos Discépolo 1901-1951

2 Ave Maria (Hail Mary) 5’34Music by Astor Piazzolla 1921-1992, arr. Slava Grigoryan Words by Roberto Bertozzi b. 1946

3 Granada 4’42Music and words by Agustín Lara 1897-1970, arr. Slava Grigoryan

4 En esta tarde gris (On this grey afternoon) 4’20Music by Mariano Mores, arr. Leonard GrigoryanWords by José María Contursi 1911-1972

5 Mi Buenos Aires querido (My beloved Buenos Aires) 3’17Music by Carlos Gardel 1890-1935, arr. Slava Grigoryan Words by Alfredo Le Pera 1900-1935

6 Amapola (Poppy) 4’32Music by José Lacalle 1860-1937, arr. Slava Grigoryan Words by Luis Roldán 1894-1943


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7 El Choclo 3’02Music by Ángel Villoldo 1861-1919, arr. Slava Grigoryan Words by Enrique Santos Discépolo 1901-1951 and Juan Carlos Marambio Catán 1895-1973

8 Los pajaros perdidos (The lost birds) 3’43Music by Astor Piazzolla, arr. Leonard Grigoryan. Words by Mario Trejo b. 1926

9 Caminito (Little path) 2’40Music by Juan de Dios Filiberto 1885-1964, arr. Slava Grigoryan Words by Gabino Corio Peñaloza 1881-1975

0 ¡No puede ser! (It can’t be!) 3’01Music and words by Pablo Sorozábal 1897-1988, arr. Slava Grigoryan

! El día que me quieras (The day you love me) 4’30Music by Carlos Gardel, arr. Slava Grigoryan. Words by Alfredo Le Pera

@ Júrame (Promise me) 4’32Music and words by Maria Grever 1894-1951, arr. Leonard Grigoryan

£ Adiós (Goodbye) 3’27Music by Mariano Mores b. 1922, arr. Leonard Grigoryan Words by Pierre Cour 1924-1997

$ Oblivion 4’03Music by Astor Piazzolla, arr. Slava Grigoryan. Words by David McNeil b. 1946

Total Playing Time 55’24

José Carbó baritoneSlava Grigoryan guitar

Leonard Grigoryan guitar


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The story of this album can be best described as a con vergence of many coincidences – were I toexpand upon each one, this introduction would take on treatise proportions! But let me elaborate onsome of the most important ones.

My life began in Argentina in 1967. For my first five years I was reared mostly by my grandparentsDonato and Nilda. Donato was a tailor and Nilda his seamstress. Donato also pla yed the bandoneón,and from as early as I can remember, I would wake him every morning without fail and ask him to playme a song. This ritual continued until my parents decided to migrate to Australia. Unknowingly, grandpahad already sown the seed which was to ultimately govern my life.

My father, José, introduced me to the guit ar as soon as he thought my little fingers could make senseof a fret board. This, combined with a myriad of family get-togethers (both in Argentina and Australia)which were always centred around the making and enjoyment of music, not only opened my ears tothe world of harmonic possibility but allowed my soul to revel in the sheer joy that music can give.

Many years passed, until one day while driving to work (I was working as a builder) I heard the duetPerhaps Love by John Denver and Plácido Domingo. I was then 24 years old. I was blown away by thecommunicative power and impact of Domingo’s voice – something clicked within me and I felt at thatmoment that I could sing like that, if I put my mind to it. So I did.

I memorised the duet and sang away in the privacy of my bedroom for a full month trying to replicatethe beauty, breadth and depth of ‘that sound’. A few weeks later, my family went to a gathering ofSouth American friends who all played an instrument, ranging from the guitar to the harp. It was thefirst such musical gathering my family had attended since I was around 10 years of age. By the end ofthe night the musicians had almost run out of songs and then one of them ask ed if anyone knew theduet Perhaps Love. I said I did, and that I w ould sing Domingo’s part if he sang Denver’s.

That moment changed my life! My fellow performers convinced me there and then to have classicalsinging lessons and as the saying goes, ‘The rest is history.’

The first time I saw Slava play was also a coincidence. I walked into The Basement in Sydney one nightwhile just strolling around Circular Quay and was lucky enough to hear Slava and a friend of his, bassguitarist Al Slavik, play for the best part of two hours whilst enjoying front row, walk-in seats, assomebody had just cancelled their booking!. It w as another one of those defining moments: w alking out


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after the concert, I remember saying to myself, ‘I will sing with this guy some day.’ How could I everhave imagined that one day I would record an album with two of Australia’s most talented guitarists?

Another of the coincidences that have made this album a very special undertaking for me personally isthe fact that all the sheet music we used to arrange and record the tangos was given to me by mygrandpa just before he left Australia for what was to be the last time. I w as 26 years old, and he couldnot possibly have foreseen the change my life was to experience which would lead to an eventualrecording of those songs. What really astounded us all during the ar ranging and recording process wasthat the tangos selected from grandpa’s sheet music were in the perfect keys for my voice. It is as iffate destined me a baritone so I could record grandpa’s tangos one day.

The other astounding coincidence of this album is that Sla va, Leonard and myself all immigrated toAustralia at around the same age, Slava and Lenny of course coming from the then So viet Union. I hadalways wanted to record a tango album but was dissuaded by the lack of authentic Argentine guitaristsof notable quality in this country – until Slava and I performed our first concert together. It was evidentfrom the immediate musical chemistry we shared that our concert was not going to be the last timewe would work together. And one final amazing coincidence: we all ended up on the books of thesame Manager, who had the idea of putting us together in the first place!

José Carbó

Nilda and Donato Decroce

Donato Decroce (left)playing bandoneón infancy dress at a family gathering


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Uno1 Uno busca lleno de esperanzas One searches, full of hope,

el camino que los sueños for the path that one’s dreams prometieron a sus ansias... promised to one’s longings... Sabe que la lucha es cruel Knowing that the struggle is cruel y es mucha, pero lucha y se desangra and hard, but fighting and bleeding por la fe que lo empecina. for the sake of the faith that makes one stubborn. Uno va arrastrándose entre espinas One goes crawling on the thorns, y en su afán de dar su amor and in the urge to give one’s lovesufre y se destroza hasta one suffers and destroys oneself, until one

entender, understands que uno se ha quedado sin corazon... that one has left oneself without a heart... Precio de castigo que uno entrega It’s the price one payspor un beso que no llega for a kiss that never comes o un amor que lo engañó. or for a love that was unfaithful... ¡Vacío ya de amar y de llorar I’m empty from loving and from crying tanta traición!... over so much betrayal!...

Si yo tuviera el corazón, If I had the heart,el corazón que di... the heart I gave away... Si yo pudiera como ayer If I could, like yesterday, querer sin presentir... love without premonition... Es posible que a tus ojos It’s possible that your eyes que me gritan su cariño that cry out their love to me, los cerrara con mis besos... I’d close them with my kisses... Sin pensar que eran como esos Without thinking that they were like otros ojos, los perversos those other, wicked eyes los que hundieron mi vivir... that ruined my existence...

Si yo tuviera el corazón, If I had the heart, el mismo que perdí... the same one I lost,Si olvidara a la que ayer if I could forget the one that yesterday lo destrozó, y pudiera amarte, I tore apart, and if I could lo ve you, me abrazaría a tu ilusión I would embrace your illusion para llorar tu amor. to weep for your love.


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Pero Dios te trajo a mi destino But God brought you into my destiny sin pensar que ya es muy tarde without thinking that it is already too late y no sabré como quererte... and I won’t know how to love you… Déjame que llore Let me cry como aquel que sufre en vida like one who suffers in life la tortura de llorar su propia muerte. the torture of weeping for his own death. Pura como sos habrias salvado Being as pure as you are, you could have saved mi esperanza con tu amor... my hope with your love... Uno está tan solo en su dolor, One is so lonely in one’s pain,. Uno está tan ciego en su penar... one is so blind in one’s suffering... Pero un frío cruel But a cruel coldque es peor que el odio, which is worse than hate,punto muerto de las almas, a deadlock of souls,tumba horrenda de mi amor, the hideous tomb of my love, ¡maldijo para siempre y me robó it cursed me forever and stoletoda ilusión...! all my illusions...!

Ave Maria2 Ave Maria, amoris tui sitiens sum, ave. Hail Mary, I am thirsty for thy love, hail.

Ave Maria, o aurea lux, Hail Mary, O golden light,O blanda viola omnium. O sweetest violet of all.

Ave Maria, qua movetur vita. Ad me veni Hail Mary, who moves all life. Come to me,vitae afflatus, omnis anhelitus. breath of life, the desire of all.Ave, credo in te. Veni ad me. Hail, I believe in you. Come to me.

A te aer nascitur, puro pudore, From you is born a fragrance, a pure modest y,ima umilitate; tibi confido! the deepest humility; in you I trust!Ave Maria, gentium mater. Hail Mary, mother of all people.

Granada3 Granada, tierra soñada por mí, Granada, land of my dreams,

mi cantar se vuelve gitano my singing turns gypsycuando es para ti, when it’s for you:mi cantar hecho de fantasía, my singing made of fantasy,mi cantar flor de melancolía my singing, a flower of melancholyque yo te vengo a dar. that I come to give to you.


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Granada, Granada,tierra ensangrentada earth drenched in blooden tardes de toros, from afternoons of bulls,mujer que conserva el embrujo a woman who keeps the witcheryde los hojos moros. of dark eyes.De sueño rebelde y gitana In my dreams you’re a rebel, a gypsy girlcubierta de flores covered in flowersy beso tu boca de grana, and I kiss your scarlet mouth,jugosa manzana a juicy appleque me habla de amores. that speaks to me of love.

Granada manola, Brazen Granada,cantada en coplas preciosas. sung in beautiful rhymes,No tengo otra cosa que darte I have nothing to offer youque un ramo de rosas, but a bouquet of roses,De rosas de suave fragancia roses of such gentle fragranceque le dieran marco they could could frame a portraita la Virgen Morena. of the blessed dark-skinned Virgin.

Granada, Granada,tu tierra está llena your land is fullde lindas mujeres of beautiful women,de sangre y de sol. blood and sunshine.

En esta tarde gris4 ¡Qué ganas de llorar en esta tarde gris! How I want to cry, this grey afternoon!

En su repiquetear la lluvia habla de ti... The pattering of the rain speaks of you…Remordimiento de saber The remorse of knowingque por mi culpa, nunca, that it’s my fault that I will never,vida, nunca te veré. never see you again, my beloved.Mis ojos al cerrar When I close my eyes, te ven igual que ayer, I see you just as you were yesterday,temblando, al implorar de nuevo mi querer... trembling as you pleaded again for my love… ¡Y hoy es tu voz que vuelve a mí And today it’s your voice which comes back to meen esta tarde gris! on this grey afternoon!


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Ven ‘Come,’– triste me decías –, you used to say to me sadly.que en esta soledad ‘This solitudeno puede más el alma mía... is too much for my soul…Ven Comey apiádate de mi dolor, and take pity on my pain,que estoy cansada de llorarte, I am tired of crying,sufrir y esperarte of suffering and waiting for you,y hablar siempre a solas of talking alonecon mi corazón. to my heart.Ven, Come,pues te quiero tanto, because I love you so muchque si no vienes hoy that if you don’t come todayvoy a quedar ahogada en llanto... I shall drown in my tears…No, No,no puede ser que viva así, I can’t go on living like this,con este amor clavado en mí with this love stabbing mecomo una maldición. like a curse.’

No supe comprender tu desesperación I couldn’t understand your desperationy alegre me alejé en alas de and I went happily away in the wings of

otro amor... another love...¡Qué solo y triste me encontré How lonely and sad I wascuando me vi tan lejos when I saw myself so far awayy mi engaño comprobé! and realised how I had deceived you!Mis ojos al cerrar When I close my eyes,te ven igual que ayer, I see you just as you were yesterday,temblando, al implorar de nuevo mi querer... trembling as you pleaded again for my love…¡Y hoy es tu voz que sangra en mí, And today your voice is bleeding inside me,en esta tarde gris! on this grey afternoon!

Mi Buenos Aires querido5 Mi Buenos Aires querido My beloved Buenos Aires,

cuando yo te vuelva a ver, when I see you again,no habrá más pena ni olvido. there will be no more sorrow or forgetting.


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El farolito de la calle en que nací The lamp of the street where I w as bornfue el centinela de mis promesas de amor, was witness to my promises of love,bajo su quieta lucecita yo la vi it was under its dim light that I sa w her,a mi pebeta, luminosa como un sol. I saw my girl, shining like a sun.Hoy que la suerte quiere que te vuelv a a ver, Today luck would have it that I see you again,ciudad porteña de mi único querer, beloved port city of my only lovey oigo la queja de un bandoneón, and I hear the rumbling of a bandoneón,dentro del pecho pide rienda el corazón. and in my chest, my heart longs to be set free.

Mi Buenos Aires My Buenos Aires,tierra florida land of flowersdonde mi vida where I will spendterminaré. my last days.Bajo tu amparo Under your protectionno hay desengaños, there are no disappointments,vuelan los años, the years fly by,se olvida el dolor. pain is forgotten.En caravana In caravanlos recuerdos pasan, memories go bycon una estela leaving a traildulce de emoción. sweet with emotion.Quiero que sepas I want you to knowque al evocarte, that when I think of you,se van las penas sorrow leavesdel corazón. my heart.

La ventanita de mi calle de arrabal. The tiny window in my dingy street,donde sonríe una muchachita en flor, where a young girl gives a smile;quiero de nuevo yo volver a contemplar I want to go back and gaze againaquellos ojos que acarician al mirar. at those eyes that caress with a look.En la cortada más maleva una canción In the toughest back alley, a songdice su ruega de coraje y de pasión, says its prayer of courage and of passion;una promesa a promisey un suspirar, and a sigh,borró una lágrima de pena aquel cant ar. that singing wiped away a tear of sadness.


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Mi Buenos Aires querido, My beloved Buenos Aires,cuando yo te vuelva a ver, when I see you again,no habrá más pena ni olvido. there will be no more sorrow or forgetting.

Amapola6 De amor en los hierros de tus rejas, From inside the bars that cage you,

de amor escuche la triste queja, I heard love’s sad complaining,de amor que solo en mi corazón, love which alone in my heartdiciéndome así, con su dulce canción: sings its sweet song, saying to me:

Amapola, lindísima Amapola, Poppy, loveliest Poppy,Será siempre mi alma tuya sola. my soul remains yours forever.Yo te quiero, amada niña mia, I love you, my beloved darling,igual que ama la flor la luz del día. like a flower loves the light of day.

Amapola, lindísima Amapola, Poppy, loveliest Poppy,no seas tan ingrata y ámame. don’t be so ungrateful – love me too!Amapola, Amapola, Poppy, Poppy,¿cómo puedes tu vivir tan sola? how can you live so alone?

El choclo7 Con este tango que es burlón y compadrito With this mocking, swaggering tango

se ató dos alas la ambición de mi suburbio; the ambition of my slum grew wings;con este tango nació el tango, y como un grito with this tango, tango was born, and like a shoutsalió del sórdido barrial buscando el cielo; it flew up from the sordid bog , in search of heaven:conjuro extraño de un amor hecho cadencia the strange enchantment of a love turned liltque abrió caminos sin más ley que la esperanza, that opened paths with no law but hope,mezcla de rabia, de dolor, de fe, de ausencia a mixture of rage, pain, faith and absencellorando en la inocencia de un ritmo juguetón. crying in the innocence of a playful rhythm.

Por tu milagro de notas agoreras From the miracle of your ominous notesnacieron, sin pensarlo, las paicas y las grelas, were born, without a thought, harlots and molls,luna en los charcos, canyengue en las caderas moonlight on puddles, cayengue rhythms in the hips,y un ansia fiera en la manera de querer ... and a fiery longing in their way of loving.

Al evocarte, tango querido, When I think of you, beloved tango,siento que tiemblan las baldosas de un bailongo I feel the tiles of a dance hall floor shaking


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y oigo el rezongo de mi pasado... and I hear the grumbling of my past…Hoy, que no tengo más a mi madre, Today, though my mother is no longer with me,siento que llega en punta ‘e pie para besarme I feel her coming on tiptoes to kiss mecuando tu canto nace al son de when your song is born to the sound of

un bandoneón. a bandoneón.

Carancanfunfa se hizo al mar con Under your banner, the carancanfunfa crossed tu bandera the sea

y en un pernó mezcló a París con Puente Alsina. and in a Pernod mixed Paris and Puente Alsina.Fuiste compadre del gavión y de la mina You were companion to libertines and flooziesy hasta comadre del bacán y la pebet a. and even to pimps and their girls.Por vos shusheta, cana, reo Through you, dandies and cops, criminals

y mishiadura and povertyse hicieron voces al nacer con found a voice, born at the same time as

tu destino... your destiny.¡Misa de faldas, querosén, tajo y cuchillo, A mass of skirts, kerosene, slashes and knivesque ardió en los conventillos y ardió en that burned in the tenements and burned in

mi corazón. my heart.

Los pájaros perdidos8 Amo los pájaros perdidos I love the lost birds

que vuelven desde el más alla, that return from the beyonda confundirse con un cielo only to be lost in a sk yque nunca más podré recuperar. that I will never be able to regain.

Vuelven de nuevo los recuerdos, The memories return again,las horas jóvenes que di the youthful hours I spent,y desde el mar llega un fantasma and from the sea there arises an apparitionhecho de cosas que amé y perdí. of things I loved and lost.

Todo fue un sueño, un sueño que perdimos, It was all a dream, a dream we lost,como perdimos los pájaros y el mar, as we lost the birds and the sea;un sueño breve y antiguo como el tiempo a dream as short and ancient as timeque los espejos no pueden reflejar. that mirrors can’t reflect.

Después busqué perderte en Ever since, I’ve tried to lose you in so many tantas otras other women,


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y aquella otra y todas eran vos; and every one of them was you.al fin logré reconocer cuando un adiós At last I’ve come to understand when a goodbye

es un adiós, is a goodbye,la soledad me devoró y fuimos dos. loneliness consumed me and we became two.

Vuelven los pájaros nocturnos The night birds return,que vuelan ciegos sobre el mar, flying blindly over the sea.la noche entera es un espejo The whole night is a mirrorque me devuelve tu soledad. casting your loneliness back at me.

Soy sólo un pájaro perdido I am just a lost birdque vuelve desde el más allá returning from the beyonda confundirse con un cielo only to be lost in a sk yque nunca más podré recuperar. that I will never be able to regain.

Caminito9 Caminito que el tiempo ha borrado, Little path that time has erased,

que juntos un día nos viste pasar, that one day saw us pass by together:he venido por última vez, I have come for the last time,he venido a contarte mi mal. I have come to tell you my woes.

Caminito que entonces estabas Little path, once embroideredbordado de trébol y juncos en flor, with clover and flowering reeds,una sombra ya pronto serás, you will soon be a shadow,una sombra lo mismo que yo. a shadow like me.

Desde que se fue triste vivo yo, Since she left, I have lived in sadness;caminito amigo, yo también me voy. little path my friend, I’m leaving too.Desde que se fue nunca más volvió. She left and she never returned;Seguiré sus pasos… Caminito, adiós. I shall follow her steps… Goodbye, little path.

Caminito que todas las tardes Little path where every afternoonfeliz recorría cantando mi amor, I used to travel, singing happily of my love:no le digas, si vuelve a pasar, if she passes this way again, don’t tell herque mi llanto tu huella regó. that my tears watered your track.

Caminito cubierto de cardos, Little path, covered in thistles,la mano del tiempo tu huella borró... the hand of time erased your tracks.


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Yo a tu lado quisiera caer I would like to fall down beside youy que el tiempo nos mate a los dos. and let time kill us both.

¡No puede ser!0 ¡No puede ser! Esa mujer es buena. It can’t be! She’s a good woman.

¡No puede ser una mujer malvada! She can’t be a wanton hussy!En su mirar como una luz singular In her gaze, like a shining beacon,He visto que esa mujer no es una desv enturada. I can see that this is not a w oman of ill repute.

No puede ser una vulgar sirena She can’t be a vulgar sirenQue envenenó las horas de mi vida. poisoning the hours of my life.¡No puede ser! Porque la ví rezar, It can’t be! Because I have seen her praying,Porque la ví querer, porque la ví llorar. I have seen her loving, I have seen her crying.

Los ojos que lloran no saben mentir; Eyes that weep don’t know how to lie;Las malas mujeres no miran así. bad women don’t look at you like that.Temblando en sus ojos dos lágrimas ví I saw two tears trembling in her eyesY a mi me ilusiona que tiemblen and I persuaded myself that they were trembling

por mí. for me.

Viva luz de mi ilusión, May the bright light of my illusion,Sé piedosa con mi amor, be kind to my love!Porque no sé fingir, because I don’t know how to pretend,Porque no sé callar, because I don’t know how to keep silent,Porque no sé vivir. because I don’t know how to live.

El día que me quieras! Acaricia mi ensueño My dream is caressed

el suave murmullo de tu suspirar, by the soft murmur of your sighs,¡como ríe la vida as if life were laughing,si tus ojos negros me quieren mirar! because your dark eyes wanted to watch me!Y si es mío el amparo And if I am granted the comfortde tu risa leve que es como un cantar, of your little smile, which is like a song,ella aquieta mi herida, it will ease my wound,¡todo, todo se olvida..! and everything will be forgotten.

El día que me quieras The day you love me,la rosa que engalana the rose you wear


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se vestirá de fiesta will dress in its Sunday bestcon su mejor color. with its finest colour.Al viento las campanas The chimes in the winddirán que ya eres mía will say that you are mine,y locas las fontanas and the crazy fountainsse contarán su amor. will speak of love.

La noche que me quieras The night you love me,desde el azul del cielo, from the blue of the skylas estrellas celosas the jealous starsnos mirarán pasar will watch us passing by,y un rayo misterioso and a mysterious ray of lighthará nido en tu pelo, will nestle in your hair:luciérnaga curiosa a curious fireflyque verá...¡que eres mi consuelo..! who’ll see that you are my consolation.

Júrame@ Todos dicen que es mentira que te quiero, Everyone says it’s not true I love you,

porque nunca me habían visto enamorado, because they’ve never seen me in love;yo te juro que yo mismo no comprendo, I swear to you, even I don’t understandel porque tu mirar me ha facinado, why your gaze fascinates me.cuando estoy cerca de ti estás contenta, When I’m near you, you’re happyno quisiera que de nadie te acordaras, and I wish you’d forget everyone else;tengo celos hasta del pensamiento, I’m jealous even of the thoughtque puedas recordarte a otra persona amada. that you might remember someone else you love.

Júrame, que aunque pase mucho tiempo, Promise me that no matter how much time passes,no olvidaras el momento en que yo te conocí, you won’t forget the moment when I met you.mírame, pues no hay nada más profundo, Look at me, for there is nothing more profound,ni más grande en este mundo, nothing greater in this worldque el cariño que te dí, than the love I gave you.besame, con un beso enamorado, Kiss me with a lover’s kiss,como nadie me ha besado, like no-one has ever kissed me before,desde el día en que nací, since the day I was born;quiereme, quiereme hasta la locura, love me until you are crazy with love,así sabras la amargura, then you will understand the bitter painque estoy sufriendo por ti. that I’m suffering because of you.


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He pasado una vida indiferente I lived my life without caring,sin pensar en el amor ni en la caricia without thinking about love or caressesporque siempre había creído firmemente because I had always believed firmlyque el amor es el martillo de la vida. that love was life's hammer.Mas te vi y desde ese mismo inst ante But then I saw you, and from that very momentcomprendí que había perdido la partida I understood that I was losty en un beso ardiente y delirante, and in one burning, delirious kisscon él yo te entregaba el resto de mi vida. I gave the rest of my life to you.

Adiós£ Con el llanto de tus ojos With the tears of your eyes

y las manos sin destino and idle handste vi partir... I watch you leave…Destino cruel que así mató And so cruel fate killsaquel amor que nos perdió. the love which abandoned us.

Adiós... Goodbye…qué triste fue el adiós, It was so sad to say goodbyeque te grité al partir that I called out to you as we partedya sin voz, de llorar... but the tears had stolen my voice…Partir... Leavingfue regresar a mí, meant returning to myself,al recordar tu voz to the memory of your voicesin tenerte aquí. without you here.Quién fue Who was itque así mató nuestro destino who killed our fate like this,sin razón. with no reason?¿Por qué vivir así? Why live like this?¿Por qué tanto dolor?... Why so much suffering…

Adiós... Goodbye…Qué triste fue el adiós. It was so sad to say goodbye.Qué enorme soledad How vast is the lonelinessme quedó which is all I have leftsin ti... without you…


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Oblivion$ Lourds, Heavy,

soudain semblent lourds suddenly they feel heavy,les draps, les velours the sheets, the velvet blanketsde ton lit of your bedquand j’oublie when I forgetjusqu’à notre amour even our love

Lourds, Heavy,soudain semblent lourds suddenly, they feel heavy,tes bras qui m’entourent your arms embracing meDéjà dans la nuit Already in the nightun bateau part a boat is leavings’en va quelque part going away somewhereDes gens se séparent People are partingJ’oublie I forgetJ’oublie I forget

Tard, Late,autre part somewhere elsedans un bar d’acajou in a mahogany bardes violons nous rejouent violins are playingnotre mélodie our melody for us againmais j’oublie but I forgetTard Latedans ce bar in this bardansant joue contre joue dancing cheek to cheektout devient flou et j’oublie everything becomes blurred and I forgetJ’oublie I forget

Court, Short,le temps semble court time seems short,le compte à rebours the countdownde nos nuits of our nights,


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quand j’oublie when I forgetjusqu’à notre amour even our love

Court, Short,le temps semble court time seems shortTes doigts qui parcourent Your fingers running alongma ligne de vie my life lineSans un regard Without a glancedes amants s’égarent lovers drift apartsur un quai de gare on a railway station platformJ’oublie I forgetJ’oublie I forget


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José Carbó

Australian baritone José Carbó was born in Argentina of Spanish andItalian descent, and moved with his family to Australia at an early age. He has studied under Thais Taras, Arax Mansourian and Margaret Baker-Genovesi in Rome, and was the winner of the Australian SingingCompetition Opera Award in 2005.

Following his 2002 debut with Opera Australia, in Strauss’s Ariadne aufNaxos, he was soon engaged by the company in the title role of Rossini’sThe Barber of Seville. He made his European debut in 20 05 at the Teatrodell’ Opera in Rome, where he sang the title role in The Marriage of Figaro.That same year, he again appeared as Figaro in The Barber of Seville, thistime for the Teatro Real in Madrid, where he was re-engaged to singBelcore in L’elisir d’amore in 2006; these performances led to an

engagement as Dandini in La Cenerentola for the 2007 Mozart Festival in La Coruña in Spain. He made hisLa Scala debut in 2009 in Il viaggio a Reims and his American debut in 2011 as Rossini’s Figaro in Seattle.

Recent engagements have included Count Almaviva in The Marriage of Figaro, Enrico in Lucia diLammermoor, Marcello in La bohème, Silvio in Pagliacci, Lescaut in Manon, Don Alfonso in Così fantutte and First Officer in Madeline Lee for Opera Australia; Belcore, the title role in Don Giovanni andSonora in The Girl of the Golden West for Opera Queensland; and Rossini’s Figaro for State Opera ofSouth Australia.

José Carbó has extensive experience on the concert platform with the major orchestras of Australiaand New Zealand, in repertoire including Beethoven’s Symphony No. 9, Orff’s Carmina burana,Rachmaninoff’s The Bells, Fauré’s Requiem, Brahms’s A German Requiem and Mendelssohn’s Paulus.In October 2006, he toured with the Sydney Symphony to Japan, performing Ravel’s Don Quixote songcycle in Tokyo and Osaka.

In 2012, José Carbó sings the roles of Fritz (Die tote Stadt) and Figaro (The Barber of Seville) for Opera Australia, Escamillo (Carmen) for Opera Queensland and Tomsky (Queen of Spades) for theSydney Symphony, as well as appearing as soloist with the Melbourne, Queensland and AdelaideSymphony Orchestras.


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Slava Grigoryan

Slava Grigoryan was born in 1976 in Kazakhstan and immigrated with hisfamily to Australia in 1981. A major prizewinner at the Tokyo InternationalClassical Guitar Competition, he was signed by the Sony Classical Label in1995. His first tour, at the age of 18, was with guitar legends Paco Peñaand Leo Kottke. Slava Grigoryan has performed as a soloist at internationalfestivals throughout the UK, as well as the Dresden Musikfestspiel,Darwin International Guitar Festival, GFA Festival (La Jolla, California),Wirral International Guitar Festival, Al Bustan Festival (Beirut), Hong KongArts Festival, New Zealand Arts Festival, Sydney, Melbourne, Adelaide,Brisbane and Perth International Arts Festivals and WOMAD festivals inthe UK, USA, Australia and South Africa. He was appointed ArtisticDirector of the Adelaide International Guitar Festival for 2010 and 2012.

He has appeared with many of the world’s leading orchestras, including the London Philharmonic, BBCConcert Orchestra, Northern Sinfonia, Royal Scottish National Orchestra, Israel Symphony Orchestra,Dresden Radio Orchestra, Klagenfurt Symphony Orchestra Austria, Hallé Orchestra, Hong KongSinfonietta, New Zealand Symphony, Australian Chamber Orchestra and all of the major Australiansymphony orchestras. He has also performed with the Southern Cross Soloists and the Goldner ,Flinders and Australian String Quartets in Australia, and the Endellion, Škampa and Chilingirian Quartetsin the UK. He was a founding member of Saffire – The Australian Guitar Quartet (featuring KarinSchaupp, Gareth Koch and Leonard Grigoryan).

In 2005, he toured Australia with American great Ralph Towner and legendary Austrian jazz guitaristWolfgang Muthspiel. The first recording of this trio, known as MGT, was released in 2008. His debutclassical album for ABC Classics, Sonatas and Fantasies, was awarded Best Classical Album at the2002 ARIA Awards; other ABC Classics releases include Play, Afterimage (music of Australiancomposer Shaun Rigney), Shadow Dances (music by Nigel Westlake), and, with his brother LeonardGrigoryan, Impressions, Rodrigo concertos and an album of Baroque concertos. He has also recordedthree albums with Saffire – The Australian Guitar Quartet, including their ARIA Award-winning self-titleddebut album.


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The collaboration with Leonard Grigoryan is developing as his most significant one. They have nowreleased their fourth duo recording, Distance, and have performed together in the UK, USA, Germany,Austria, France, Italy, Spain, Russia, Estonia, Croatia, Hungary, Hong Kong, Malaysia, Indonesia, SouthAfrica and the UAE, as well as playing regular tours of Australia.

Leonard Grigoryan

Leonard Grigoryan was born in 1985. Four years later, he was studyingthe guitar with his father. His elder brother Slava Grigoryan had alreadyforged a career in music when Leonard was growing up; the nine-yeargap was an asset in that they never competed against each other butmatured along their own paths. However, it was inevitable that onceSlava returned to Australia, the two would perform together.

In 2001, Leonard Grigoryan was the guest artist on Slava’s ARIA Award-winning album, Sonatas and Fantasies. The following year they releasedtheir first duo album, Play, which was also nominated for an ARIA. In2005, the brothers released their second album, R odrigo Concertos, onABC Classics. A third album followed two years later: Impressions,featuring the music of Debussy, Falla and Mompou. In 2009, the brothers

recorded Distance on the Which Way Music label; this album was also nominated for an ARIA Awardand, the following year, was released in Europe with Material Records.

Leonard Grigoryan has dedicated himself to both classical and jazz genres and is an activ e arranger andcomposer. In 2005, he joined the ARIA award-winning ensemble Saffire – The Australian Guitar Quartet.He regularly tours nationally for Musica Viva and has performed in Africa, Europe, the United States,Russia and Asia. In March 2006, Leonard made his debut performance, with Slava, at Wigmore Hall in London.

Leonard Grigoryan also performs and composes for the groundbreaking contemporary jazz ensembleFGHR, which has released two albums, Stationary and Going Home.


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Executive Producers Patrick Togher, Romola Tyrrell

Recording Producers Michael Letho, Shaun Rigney

Mixing & Mastering Michael Letho

Booklet Design Imagecorp Pty Ltd

Cover Photo Andrew Keshan

Recorded August and November 2011 at Sing Sing Recording Studios, Melbourne, Australia.

José Carbó, Slava Grigoryan and Leonard Grigoryan are represented by Patrick Togher Artists’ Management

www.patricktogher.com

José, Slava and Leonard would like to thank the team at Patrick Togher Artists’ Management (Paddy, Rom, Phil

and Justine), Mick Letho, Shaun Rigney, Glenn Amer, Cyrus Meher-Homji, Isobel Morgan, Elisabeth Turner,

Penny Shehadeh and Helen & Avon Phillips.

From José:

‘I would like to dedicate this album to the memor y of my grandfather, Donato. This album is a direct result of

his early musical influence on my life. I would also like to thank my beautiful wife, Tarita and our boys Zachary

and Maximus for enduring everything the life of a professional singer has thrown at us over the last decade.’

ABC Classics Robert Patterson, Laura Bell, Natalie Shea, Virginia Read

www.abcclassics.com

All tracks licensed to ABC Classics courtesy of Patrick Togher Artists’ Management.

� 2012 Patrick Togher Artists’ Management. � 2012 Australian Broadcasting Corporation. Distributed in Australia and New Zealand byUniversal Music Group, under exclusive licence. Made in Australia. All rights of the owner of copyright reserved. Any copying, renting,lending, diffusion, public performance or broadcast of this record without the authorit y of the copyright owner is prohibited.


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