Sabre Dance

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A scene from "Sabre Dance" by the Kirov (Mariinsky) Ballet in a 1952 Soviet film-concert Khachaturian Gayane Sabre Dance 1952 scene1.jpg
A scene from "Sabre Dance" by the Kirov (Mariinsky) Ballet in a 1952 Soviet film-concert

"Sabre Dance" [a] is an orchestral movement from the final act of Aram Khachaturian's 1942 ballet Gayane , in which dancers display their skill with sabres. It is Khachaturian's most recognizable work worldwide and is considered one of the signature pieces of the 20th century popular music. [3] The composition is a fast-paced work, lasting about two and a half minutes, and incorporates elements of Armenian folk music.

Contents

The piece achieved widespread popularity in the United States in 1948, becoming a classical hit with orchestral recordings and a piano version by Oscar Levant and a jukebox sensation with charting versions by pop artists like Woody Herman. It has been widely adapted across genres and instruments, including for violin by Jascha Heifetz, for piano by György Cziffra, and a hit rock cover by Dave Edmunds. Over decades, its extensive use on screen and in popular culture has made it a "global musical shorthand for cartoonish urgency" [4] and a staple for variety acts. It is also used in sports, notably as a theme song for the ice hockey team Buffalo Sabres and in figure skating. Khachaturian expressed ambivalence about the piece overshadowing his other works.

Background

"Sabre Dance" appears in Act IV of Gayane, [b] a ballet written by Khachaturian based on his first ballet, Happiness (1939). [5] With a libretto by Konstantin Derzhavin, Gayane premiered on December 9, 1942 at the Perm Opera and Ballet Theatre. [6] Set on a collective farm ( kolkhoz ) in Soviet Armenia, it centers on Gayane, a patriotic young woman, and her husband, Giko. The drama unfolds when Giko betrays the Soviet regime by joining a band of smugglers and setting fire to the farm. In a mounting frenzy, he nearly kills his wife and daughter before they are rescued by Kazakov, a Red Army border patrol commander. After Giko's capture, Kazakov, who loves Gayane, marries her. [7] "Sabre Dance" occurs at the wedding party, an "exuberant celebration of folk dance", along with Armenian Shalakho and Uzundara, Caucasian Lezginka, Russian plyaska, and Ukrainian Gopak (Hopak). [8] [7]

Khachaturian wrote "Sabre Dance", originally called the Dance of the Kurds, after completing the score of Gayane. He did so at the Kirov Theatre's request, [9] during its World War II evacuation to Perm (then called Molotov). [10] He later recounted that it "came into being quite by accident." The director's request for one more dance led the composer to create a contrasting warlike and lyrical piece in just eleven hours, which was then orchestrated, staged, and rehearsed within two days. [11] [10] He wrote in November 1942 that it "immediately impressed" the orchestra, the dancers, and the audience during a full dress rehearsal. Khachaturian initially wanted to end it in a long and gradual diminuendo, but Nina Anisimova and the dancers persuaded him to end it with a gradual crescendo. [9]

Several sources of inspiration have been proposed. Soviet musicologist Georgi Tigranov suggested that the piece embodies the "manly and heroic" essence of Armenian male folk dances [12] and "the fiery temperament [and] raw energy" of "the warlike dances of the Transcaucasian peoples." [13] Pianist Mariam Kharatyan argues that while "Sabre Dance" is neither inspired by nor musically related to the male martial dance Zinapar from Msho Shoror, a suite transcribed by Komitas, it reflects traits of that folk tradition through Khachaturian's individual style. [14]

Soviet theater critic Yuri Slonimsky suggested that it recalls "Polovtsian Dances" from Alexander Borodin's Prince Igor opera (1890) and Mily Balakirev's Islamey . [15] Tigranov and Victor Yuzefovich suggested that "Polovtsian Dances" served as a prototype for the piece in terms of energy and "emotional frenzy," [16] while Steven J. Haller suggested that the "Sword Dance" in Reinhold Glière's 1927 ballet The Red Poppy inspired Khachaturian. [17]

Composition

"Sabre Dance" is a fast-paced (marked Presto) [7] orchestral work lasting approximately two and a half to three minutes. [18] [19] It follows an ABA form with a transition and coda. The opening section presents the main theme. The middle section features woodwind instruments accompanied by timpani drums. The transition features repeated patterns on the xylophone and dramatic sliding effects on the trombones. When the initial theme returns, it is interrupted by a cymbal crash, and then played at an even higher pitch. The work concludes with a descending melodic line followed by an upward climb to the final note. [20]

The orchestration employs an array of percussion instruments, including the tambourine, snare drum, [21] and particularly the xylophone, [22] [23] to emphasize the dance rhythms characteristic of folk music. [21] The score calls for several specialized woodwind instruments, including piccolo, English horn, and bass clarinet. [24] The harp plays throughout most of the piece, while the celesta appears only in the final three measures. [24]

The brief slower section incorporates Armenian folk music [25] and features a cello solo and alto saxophone. [24] The saxophone, along with violins, violas, and cellos, presents a lyrical melody, enhanced by gentle flute counter-melodies based on a melodic motif from "Kalosi prken", [26] a folk male dance from the Shirak region. [12] [1] [c] Tigranov suggests that the saxophone evokes the distinctive sound of traditional instruments like the duduk and the zurna, [21] while Tigran Mansurian suggests that its idiom "seems to come straight from America." [28]

The ending creates musical tension by combining different musical scales and keys simultaneously. [29] The work also features elements of polyrhythm, with duple and triple meters overlapping in different instrumental voices. [30] Pedal points and bass ostinatos heighten the dramatic tension and dynamic intensity. [31]

Reception and legacy

Jay Nordlinger described "Sabre Dance" as "one of the most famous pieces of music", [32] while NPR's Tom Huizenga called it "one of the catchiest, most familiar—perhaps most maddening—tunes to come out of the 20th century." [33] Filmmaker Yusup Razykov, who directed a film about the piece's creation in 2019, dubbed it as "a kind of ringtone of the 20th century." [34] Sportswriter Bob Ryan called it "one of the great uplifting pieces of music ever written." [35] The piece is considered a "warhorse" and a children's favorite. [36] [37] [d]

A promo insert by RCA Victor, 1948 Sabre Dance RCA 1948.jpg
A promo insert by RCA Victor, 1948

The piece, which is his most recognizable, [40] earned Khachaturian a worldwide reputation and continues to define his legacy. [41] [42] [e] He has sometimes been called "Mr. Sabre Dance", [45] which he found annoying and unfair. [10] Khachaturian maintained mixed feelings about the piece. While happy with its Western popularity, Khachaturian wished for more attention to his other works. [46] In 1963, he called it "one unruly and rowdy child in my musical family," adding, "Honestly, if I had known it would gain such popularity and start elbowing aside my other works, I would never have written it!" [10] [47] He felt other melodies in Gayane deserved equal attention [48] and told an American interviewer, "It's like one button on my shirt, and I have many buttons." [41] [49] When asked about its popularity by American TV representatives in Moscow, he jokingly responded, "Serves you right!" [50] Composer Nikolai Kapustin recalled that Khachaturian was particularly irritated by the casual, whistling performances of the piece, once humorously mimicking such renditions for his close friends. [51]

Noted for its explosive energy and relentless pace, [43] [f] "Sabre Dance" was promoted by RCA Victor in 1948 as a "vivid, rampant, passionate orchestral tour de force". [39] Early American critics found the piece "bold and spirited", [7] conveying a "violent savagery of emotion." [56] Michael Dervan found it catchy and rhythmically insistent, [57] while David Schwartz described it as "raucous, silly, and altogether enjoyable." [58] Rob Barnett likened it to a roller-coaster ride of escapism. [59] George Loomis suggested it captures Khachaturian's essential qualities: "brash, optimistic, rhythmic, colourful and above all accessible." [60] Edward Greenfield opined that while "Sabre Dance" may be the most striking of the Gayane dances, "it is far from being the best." [61]

Others have been more critical. Steven J. Haller dismissed it as "a blistering, tub-thumping excess." [62] During Khachaturian's 1968 U.S. tour, Time magazine described the piece as a "tuneless orchestral blooey." [41] Peter G. Davis and Martin Bernheimer called it "infamous" and "obnoxious." [63] Pianist Sviatoslav Richter called it his most hated piece and "a work that stinks to high heaven." [64]

Recordings, arrangements, and covers

Orchestral recordings

The cover of a 1953 vinyl record of "Sabre Dance" by the Indianapolis Symphony Orchestra Khachaturian Sabre Dance cover Indianapolis Symphony 1953.png
The cover of a 1953 vinyl record of "Sabre Dance" by the Indianapolis Symphony Orchestra

After World War II, "Sabre Dance" quickly became a popular classical sensation in the West. [66] The piece was given an American premiere by Efrem Kurtz and the Kansas City Philharmonic during the 1944–45 season. [7] At the New York Philharmonic's June 1946 premiere at Lewisohn Stadium, conductor Alexander Smallens encored "Sabre Dance" following prolonged applause. [7]

In 1948, it reached No. 11 on the U.S. best-selling sheet music charts, No. 9 in Canada, and No. 14 in England. [67] That same year, major American orchestras recorded the piece, including the Chicago Symphony Orchestra conducted by Artur Rodziński, [68] [69] the New York Philharmonic conducted by Efrem Kurtz, [70] and the Boston Pops Orchestra conducted by Arthur Fiedler. [71] The Chicago and New York recordings topped Billboard's classical charts and became top-selling classical releases of the year, [72] with the Chicago Symphony's version becoming the ensemble's first million-seller. [73] The piece was concurrently recorded by the "semi-classical" studio orchestras led by Victor Young, Ray Bloch, and Harry Horlick, among others. [74] [75]

Notable subsequent recordings include the Royal Philharmonic Orchestra (Yuri Temirkanov, 1986), [76] London Symphony Orchestra (Stanley Black, 1989), [77] Bolshoi Symphony Orchestra (Alexander Lazarev, 1994), [78] and National Symphony Orchestra (Loris Tjeknavorian, 2005), [79] and a video recording by the Berlin Philharmonic (Simon Rattle, 2013). [80]

Instrumental arrangements

Oscar Levant (pictured here playing the piece in The Barkleys of Broadway) helped popularize "Sabre Dance" in the United States. Oscar Levant in Barkleys of Broadway.jpg
Oscar Levant (pictured here playing the piece in The Barkleys of Broadway ) helped popularize "Sabre Dance" in the United States.

Oscar Levant arranged a piano solo version, releasing it on Columbia Records in 1948. It reached No. 6 on the year's classical chart. He performed it frequently on the radio program Kraft Music Hall and in the 1949 film The Barkleys of Broadway , described as "a brazen bit of cross-marketing" that let audiences see him play. [84] According to the Current Biography Yearbook , Levant's rendition "received popular attention." [85] Other notable piano recordings include Benno Moiseiwitsch (1948) [86] [59] and György Cziffra (1954 with the Hungarian Radio), whose version has been called a "madcap overhauling" and a "marvel of pianistic aplomb." [87] Liberace frequently performed it in his early 1950s TV and concert appearances. [88]

Violinist Jascha Heifetz created a technically demanding transcription for violin and piano in 1948, which has been called a "brilliant trifle" and "positively over-the-top." [89] Violinist Vanessa-Mae covered a techno-flavoured version by Tolga Kashif in her 2004 album Choreography , which has been well received. [90] The piece has inspired multiple accordion and harmonica arrangements, most notably by Mogens Ellegaard (1959) and Larry Adler (1978), respectively. [91] James Galway adapted it for flute, recording it alongside other Khachaturian works with the Royal Philharmonic in 1985. [92] It has been arranged for several folk instruments. These include a bongo version featuring Jack Costanzo in Pete Rugolo's 1955 album Rugolomania , [93] a balalaika version by Mikhail Rozhkov, [94] which appeared in the 1969 Soviet film Moskva v notakh , [95] and an arrangement for Armenian instruments shvi and duduk by Ruben Altunyan (1999). [96]

"There's a rash of sabre dance disks based on the familiar excerpts from Aram Khachaturian's Gay[a]ne Ballet Suite."

 — Billboard , February 1948 [97]

In 1948, "Sabre Dance" became a jukebox sensation in the United States [98] —dubbed the "Khachaturian Year" by Newsweek . [99] As the U.S. and the Soviet Union had no reciprocal copyright treaty, the piece was effectively in the public domain [100] and became subject to "elegant plagiarism." [101] Contemporary audiences embraced it as a novelty, [102] and the recording industry produced multiple competing versions. [103] Its popularity in the U.S. coincided with the Soviet denunciation of Khachaturian (along with Shostakovich and Prokofiev). [104] [74]

Collectively, various recordings spent 23 weeks on the top 40 of the Cash Box Disc-Hits Box Score, [105] peaking No. 1 in May 1948. [106] Three versions charted on Billboard's Most-Played Juke Box Records: Woody Herman's dance-band foxtrot (arranged by Ralph Burns) reached No. 6, [107] [108] Freddy Martin's instrumental "Sabre Dance Boogie" hit No. 7, [109] [g] and The Andrews Sisters' vocal rendition (lyrics by Allan Roberts and Lester Lee) with harmonica accompaniment landed at No. 20. [102] [112] Billboard called Martin's version "the most commercial," while Herman's was deemed more authentic. [97] Described as ravishing, the Andrews Sisters' version was considered extremely challenging to perform vocally, singing at seven syllables a second. [113] [114] It was, however, released "a little too late to cash in on the Khatchaturian bonanza." [115]

Welsh guitarist Dave Edmunds' band Love Sculpture released a frenzied blues/psychedelic guitar/bass/drum instrumental version in November 1968 [121] [h] that propelled them to fame. [122] Within a month, it sold over 15,000 copies, reached No. 5 in the UK chart, and charted in Switzerland, the Netherlands, and West Germany. [128] The piece became Edmunds' "official guitar showcase piece." [129] [130] with Scottish critic Neville calling it "a successful adaptation in pop terms." [131] Pete Prown and HP Newquist called it "raucous but untraditional," [132] while Motörhead's Lemmy called it "the fastest thing you've ever heard in your fucking life!" [133] Edmunds later called it "the most unlikely hit record", admitting he didn't know why he chose it. [134] He rerecorded an updated version for his 1994 album Plugged In , feeling the original was poorly done. [135]

A number of rock versions have subsequently been released. The Dutch band Ekseption's 1969 recording has been well received. [136] British folk metal band Skyclad's 1996 album Irrational Anthems includes an acclaimed version. [137] Tony Levin offered a progressive rock version in his 2006 album Resonator , [138] to mixed reviews. [139] Brian Setzer's orchestra recorded a version based on Edmunds' arrangement in their 2007 album Wolfgang's Big Night Out . [140]

On screen

Still from the 1952 Soviet film-concert with the dancers in the final pose of "Sabre Dance" Khachaturian Gayane Sabre Dance 1952 scene2.jpg
Still from the 1952 Soviet film-concert with the dancers in the final pose of "Sabre Dance"

The piece was featured in the 1952 Soviet film Concert of Stars (Концерт мастеров искусств), directed by Aleksandr Ivanovsky and Herbert Rappaport. The performance, with choreography by Nina Anisimova, was by the Kirov (Mariinsky) Ballet. Howard Thompson wrote that "Sabre Dance", with its "electric and supposedly definitive interpretation", is a highlight of the film. [141]

The piece has "invaded every corner of world pop culture," [142] and "become a kind of global musical shorthand for cartoonish urgency" [4] and "a kitsch staple of plate-spinning and magic acts." [143] The piece's popular familiarity has been enhanced by its traditional use as accompaniment by circuses [144] [20] and on television variety shows, most notably The Ed Sullivan Show when plate spinners appeared. [147] In the Soviet Union, it was popularized with an episode of the animated short Nu, pogodi! (1973). [148]

"Sabre Dance" has featured in many feature films. [i] In Billy Wilder's One, Two, Three (1961), the piece, adapted by André Previn, is regularly employed to amplify comic effect. [158] In Tengiz Abuladze's Repentance (1987), it is used to inject tension at a key moment. [159] [160] In The Hudsucker Proxy (1994), the Coen brothers use it to underscore a rapid montage of the development of the hula hoop. [161] In Federico Fellini's 8½ (1963) the piece is adapted by Nino Rota as a recurring lighthearted motif, [162] and a parody, also by Rota, appears in Amarcord (1973). [163] In Tim Burton's Pee-wee's Big Adventure (1985), the main theme, reminiscent of "Sabre Dance", is used to convey whimsical chaos and comic exuberance. [164] In "A Piano in the House", a 1962 episode of The Twilight Zone , it functions as a musical trigger, [165] [166] while in The Amazing Race 28 (2016), it appears in an episode filmed in Armenia. [167]

In sports

The piece has also been used prominently in sports. The National Hockey League (NHL) team Buffalo Sabres have used the piece as a theme song since the team was established in 1970. [168] Sportswriter Bob Ryan found it to be "the greatest piece of intro music in sport." [35] After a hiatus, "Sabre Dance" was again made their theme song in 2011, [169] specifically using Vanessa-Mae's version. [170]

"Sabre Dance" has been a recurring choice for figure skating programs, performed by competitors from numerous countries in both national and international events. [171] Among the most prominent skaters who have performed to the piece are Toller Cranston, [172] Scott Hamilton, [173] Michelle Kwan, [174] Johnny Weir, [175] and Evgeni Plushenko. [176] The piece has also been used in women-only sports synchronized swimming [177] and rhythmic gymnastics. [178]

A snippet of "Sabre Dance" was featured in the 2014 Winter Olympics opening ceremony held in Fisht Olympic Stadium, Sochi, Russia, on February 7. [179] [180] Between 2010 and 2013, "Sabre Dance" was played at Donbas Arena, the venue of the Ukrainian football club Shakhtar in Donetsk, whenever the Armenian player Henrikh Mkhitaryan scored a goal. [181]

References

Notes
  1. ↑ Also spelled Saber Dance and less commonly translated as "Dance with Sabres" or "Sword Dance."
    Russian: Танец с саблями, Tanets s sablyami
    Armenian: Սուսերով պար, Suserov par; less commonly Սրերով պար, Srerov par [1] [2]
  2. ↑ Also spelled Gayne and Gayaneh
  3. ↑ This marks the third leitmotif use of the folk song in the ballet, which also appears in the Dance of the Carpet Weavers and the duet of Armen and Aysha. [27]
  4. ↑ In a 2009 Classic FM poll, young listeners in Britain ranked it 20th among their preferred orchestral works. [38]
  5. ↑ Some have been called his "one enduring hit" [43] and Khachaturian a one-hit wonder. [44]
  6. ↑ "flashing", [52] "furiously paced", [53] "bustling," [54] "rousing". [55]
  7. ↑ Herman's version also reached No. 3 on disk jockey playlists (Martin's at No. 7), while in sales Martin reached No. 6 and Herman No. 7. [110] Herman's ultimately proved most enduring, ranking No. 7 among the year's top bands on disk jockey shows. [111]
  8. ↑ Before the release, they had played it on the BBC Radio programme Top Gear in the 1960s. [122] Besides the single, it was also released on the 1969 album Forms and Feelings. [122] [120]
  9. ↑ Those mentioned by secondary sources include Animals Are Beautiful People (1974), [149] Tarzoon: Shame of the Jungle (1975), [150] Jumpin' Jack Flash (1986), [151] Hocus Pocus (1993), [152] Blues Brothers 2000 (1998), [153] Kung Fu Hustle (2005), [154] All About My Dog (2005), [155] Scoop (2006), [156] Ghost Town (2008), [151] Le Concert (2009). [157]
Citations
  1. 1 2 Stepanyan, Hasmik (1999). "«Կալոսի պռկեն» մեղեդու փոխարկումները Ա. Խաչատրյանի «Գայանե» բալետում [Metamorphoses of melody "Kalosi prken" in Khachatrian's ballet "Gayane"]". Gitakan Ashkhatutyunner (in Armenian). 2. Shirak Centre of Armenological Studies of NAS RA: 227. ISSN   1829-4316. Archived from the original on 16 October 2025.
  2. ↑ Hakhverdyan, Nune (4 February 2008). "«Վախենում ենք ծիծաղելի թվալ…» ["We are afraid of looking ridiculous..."]". 168.am (in Armenian). Archived from the original on 19 October 2025.
  3. ↑ Adalian, Rouben Paul (2010). Historical Dictionary of Armenia. Lanham, Maryland: Scarecrow Press. p. 381. ISBN   978-0-8108-7450-3.
  4. 1 2 Poole, Steven (12 June 2003). "Cinematic for the people". The Guardian . Archived from the original on 11 September 2014.
  5. ↑ Tigranov 1974 , p. 57-58; Katonova 1980 , p. 140
  6. ↑ Katonova 1980, p. 140.
  7. 1 2 3 4 5 6 Biancolli, Louis (1947). "Aram Khatchatourian". The Concert Companion: A Comprehensive Guide to Symphonic Music. New York: Whittlesey House. pp. 371–372. ISBN   0000412090.{{cite book}}: ISBN / Date incompatibility (help)
  8. ↑ Katonova 1980, p. 146.
  9. 1 2 Yuzefovich 1985, p. 139.
  10. 1 2 3 4 Арам Хачатурян - Статьи и воспоминания [Aram Khachaturian - Articles and Memoirs] (in Russian). Moscow: Sovetskiy kompozitor. 1980. p. 132.
  11. ↑ Aram Khachaturian, "About the ballet Gayaneh," Nedelya (12 October 1963) in Aram Khachaturian: Articles and Reminiscences, ed. I. E. Popov (Moscow: Soviet Composer, 1980), 132. cited in Kushner, David Z. (October 2018). "Aram Khachaturian (1903-1978): A Retrospective" (PDF). Athens Journal of Humanities and Arts. 5 (4). Athens Institute for Education and Research: 383. doi:10.30958/ajha.5-4-1. Archived from the original (PDF) on 4 July 2023.
  12. 1 2 Tigranov, Georgi Grigorievich [in Russian] (1987). Арам Ильич Хачатурян [Aram Ilyich Khachaturian] (in Russian). Moscow: Muzyka. pp.  56–58.
  13. ↑ Tigranov 1974, p. 57.
  14. ↑ Kharatyan, Mariam (2019). "Armenian Fingerprints: interpreting the piano music of Komitas and Khachaturian in light of Armenian folk music". Research Catalogue. Norwegian Artistic Research Programme. Archived from the original on 9 November 2025.
  15. ↑ Slonimsky, Yu. I. [in Russian] (2024) [1950]. Советский балет. Материалы к истории советского балетного театра [The Soviet Ballet: Materials for the History of Soviet Ballet Theatre] (2nd ed.). Saint Petersburg: Planeta Muzyki. p. 197. ISBN   978-5-4495-3187-2.
  16. ↑ Tigranov 1974 , p. 76; Yuzefovich 1985 , p. 144
  17. ↑ Haller, Steven J. (Sep–Oct 1996). "Gliere: The Red Poppy". American Record Guide . 59 (5): 126. ProQuest   223415084.
  18. ↑ "Gayaneh: Sabre Dance (1957)". Boosey & Hawkes. Archived from the original on 29 October 2025.
  19. ↑ "Khachaturian, Aram (Swarsenski, H.) - Sabre Dance (Orchestra (piano conductor's score & parts)". (Anglo-Soviet Music Press) Boosey & Hawkes. 1948. Archived from the original on 6 November 2025. (first page)
  20. 1 2 "Notable Numbers: Patterns + Forms in Music" (PDF). Charlotte Symphony Orchestra. p. 7. Archived from the original (PDF) on 5 September 2021.
  21. 1 2 3 Tigranov 1974, p. 74.
  22. ↑ Blades, James (1992). Percussion Instruments and Their History. Bold Strummer. p.  341. ISBN   9780933224612.
  23. ↑ Longe, Jacqueline L. (2001). How Products are Made: An Illustrated Guide to Product Manufacturing, Volume 6. Gale Group. p. 462. ISBN   9780787636425.
  24. 1 2 3 Chetel, Daniel (2020). Accessible Orchestral Repertoire: An Annotated Guide for Community and School Orchestras. London: Rowman & Littlefield Publishers. p.  73. ISBN   9781442275805.
  25. ↑
  26. ↑ Tigranov 1974, pp. 57–58.
  27. ↑ Tigranov 1974, pp. 64, 66.
  28. ↑ In the documentary Khachaturian (2003, directed by Peter Rosen), Tigran Mansurian states at around 33:00: "What an interesting synthesis! He's taken a melody from Gyumri, an Armenian wedding dance tune ... and he's tied in a saxophone counterpoint that seems to come straight from America. The relationship between the two seems so organic, so interesting!"
    The film is available online: "Khachaturian: The virtuous Soviet Armenian composer (2003)". EuroArtsChannel on YouTube. July 29, 2017. Archived from the original on 19 January 2022. Retrieved 19 January 2022.
  29. ↑ Grigoriev, Stepan Stepanovich (1981). Теоретический курс гармонии [Theoretical Harmony Course] (in Russian). Moscow: Muzyka. p.  271.
  30. ↑ Tigranov 1974, p. 58.
  31. ↑ Tigranov 1974, p. 71.
  32. ↑ Nordlinger, Jay (July 28, 2014). "Swords, sandals, and slippers". The New Criterion . Archived from the original on 9 November 2025.
  33. 1 2 Huizenga, Tom (5 June 2003). "The 'Sabre Dance' Man". NPR. Archived from the original on 3 March 2016.
  34. ↑ "Мировая премьера «Танца с саблями» пройдет на Шанхайском кинофестивале [The world premiere of "Sabre Dance" will take place at the Shanghai Film Festival]" (in Russian). kino-teatr.ru. 28 May 2019. Archived from the original on 10 November 2025.
  35. 1 2 3 Ryan, Bob (1 May 1992). "Approaching finish, a visitor becomes a believer". The Boston Globe . p. 35. ProQuest   294670775.
  36. ↑ Kaptainis, Arthur (21 January 2002). "The kids are all right". Montreal Gazette . p. B8.
  37. ↑ Done, Phillip (2023). The Art of Teaching Children: All I Learned from a Lifetime in the Classroom. New York: Simon & Schuster. p. 202. ISBN   978-1-982165-67-3.
  38. ↑ "Harry Potter theme named favourite orchestral tune for children". The Daily Telegraph . 2 November 2009. Archived from the original on 22 March 2014.
  39. 1 2 "Gayne: Rodzinski conducts Khatchaturian ballet" (PDF). RCA Victor Record Review. 11 (2). Radio Corporation of America: 8. June 1948.
  40. ↑
  41. 1 2 3 "That Well-Known Shirt Button". Time . Vol. 91, no. 5. 2 February 1968. p.  47.
  42. ↑ Cheremnykh, Elena (6 June 2003). "Очередь на Хачатуряна [Queue for Khachaturian]". Kommersant (in Russian). Archived from the original on 10 November 2025.
  43. 1 2 Kaptainis, Arthur (23 October 2003). "Symphony dazzles and disappoints". Montreal Gazette . p. D3. ProQuest   433982344. ...the vigorous rhythm and brilliant palette of the composer's one enduring hit, Sabre Dance.
  44. ↑ Harris, Garrett (August 31, 2011). "Sheath Thy Sword". San Diego Reader . Archived from the original on 9 September 2012. The Sabre Dance is undoubtedly Aram Khachaturian's one-hit wonder.
  45. ↑ "Soviet Union's 'Mr. Sabre Dance' dies at 74". The Montreal Gazette . (via UPI-AP). May 3, 1978. Archived from the original on 15 July 2023.
  46. ↑ "Russian Composer Pleased That U.S. Has Made His 'Sabre Dance' Dance". Albuquerque Journal . (via UP). March 12, 1954. p. 16.
  47. ↑ "Танец с саблями" (in Russian). Radio Orpheus. 13 August 2024. Archived from the original on 10 November 2025.
  48. ↑ Yuzefovich 1985, pp. 145–146.
  49. ↑ "Khachaturian, a Leading Soviet Composer, Dies at 74". The New York Times . 3 May 1978. (archived)
  50. ↑ Shneerson, Grigory Mikhailovich [in Russian], ed. (1982). Арам Хачатурян: Страницы жизни и творчества: Из бесед с Г. М. Шнеерсоном [Aram Khachaturian: Pages of Life and Work: From Conversations with G. M. Shneerson] (in Russian). Moscow: Sovetsky kompozitor. p. 112.
  51. ↑ Tyulkova, Yana (2019). "Another significant meeting for Kapustin in Mikhalkov's house was his acquaintance with Aram Khachaturian.". Conversations with Nikolai Kapustin. Schott Music. ISBN   978-3-95983-591-6.
  52. ↑ "Americans Overrule Stalin on Music Likes". Deseret News . February 28, 1948. p. 4. Archived from the original on 11 July 2023.
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  54. ↑ Taylor, James C. (September 14, 2003). "Back, with flash". Los Angeles Times . Archived from the original on 22 July 2023.
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