Anthology of Armenian Music-CD Set
Robert Amirkhanian, President
of the Composers' and Musicians' Union of Armenia, has undertaken a project
to produce an extensive Anthology of Armenian Music, which is envisoned
to be a twelve volume CD set with annotations and historical information
about Armenian composers, beginning with Komitas. Volumes 1 and
2 of the series have been released. Below are excerpts about some
of the early composers.
 Komitas
(1869-1935)
The modern school of Armenian music was founded in the 19th century by
Tigran Choukhadjian. Through several decades of existence the national
form of Armenian music evolved. Classic Armenian artists such as Kristapor
Kara-Murza, Makar Yekmalyan, and others created these developments. The
heritage of these natural musical cultural advancements is attributed
to Soghomon Soghomonian also known as Komitas. Komitas is considered the
founder of classical Armenian music and the forefather of generations
of music.
Komitas took Armenian musicology to a new level both as a scholar and
as a composer uncovering the foundations of Armenian monophonic and polyphonic
musical systems, and applying a number of progressive musical styles from
the 19th and 20th centuries in a unique way.
Komitas is a milestone in the history of Armenian music indeed. One can
speak of Armenian music “before” and “after” Komitas.
Komitas demonstrated the vitality and potential of Armenian music, its
rightful place in the world of national and classical music. His work
is also deeply individual, providing a window not only of Armenian culture,
but also on the mind of a spiritual and music genius.
“Lorou Goutanerge Vardablour Gyoughi Vojov”
Komitas is the founder of both the Armenian national composer school and
the Armenian new singers school. His many students included Vahan Ter-Arakelyan
and Armenak Shahmuradyan both of whom inherited his unique principles
of musical interpretation and methodological notations. Existing musical
scores and recordings of Komitas singing substantiate his originality
and creativity. “Lorou Goutanerge Vardablour Gyoughi Vojov”
(The Plowing Song of Lori in Vardablour Village Style) is considered a
model for Armenian ancient folklore and ethnomusical study. The work provides
a glimpse of Komitas’ vigorous personality through the artistic
rendering of a popular folk song. Komitas uses highly expressive variations
and modulations to portray the main theme.
“Havik”
Another of Komitas’ works, “Havik” (Bird), expresses
his genius ability to combine Armenian heritage and culture with music.
Originally a masterpiece of theologian and mystic Saint Grigor Narekatsi
of the 10th century, “Havik” is reconstructed by Komitas into
beautiful musical phrases and moving melodies. Two other versions of “Havik”
exist in archives, which have been published. These recordings, being
partly destroyed, are comparable with the works of medieval stone masters,
Momik and Poghos, whose lace-type Khachkars (crosses-stones) have also
survived in partly damaged state.
“Ounabi” and “Marali”
An important part of Komitas’ literature is his works for piano,
more specifically the suite of dances. With these works, Komitas fostered
the development of a new musical genre among Armenians, as well as literature
for newly forming musical instruments. The various suites and dances represent
folklore of different Armenian regions. The songs “Ounabi”
and “Marali” are taken from this cycle of composition. For
example: “Yerangi” is of Yerevan. “Ounabi” and
“Marali” are of Shoushi, “Shoushikin” (To Shoushik)
is of Vagharshapat, “Yet-araj” (Ahead-backwards) and “Shoror”
(Swing) from the region of Karin.
Komitas’ principles of maintaining a pure form of folk music led
to new expressions of his compositional intentions. Instructions for the
musician were very specific and articulate. Notes for the pianist, for
example. would be written as “On tar or tambourine style”
or “On horn and drum style.’ The Komitas piano suites are
truly examples of Armenian musical literature, with which creative tendencies
and emotion show the conscientious and precise attitude Komitas portrayed
toward expressing his heritage and beloved people.
“Antouni”
One of the most significant symbols of Armenian song is called “Antouni.”
These medieval songs contain high dramatic quality and are expressed lyrically
through love, drama, and various scenes of real-life affairs. The songs
are excerpts from medieval large musical poetic works. These songs are
known to spiritually and emotionally arouse internationally distinguished
composers whom they elaborate and perform Komitas’ works. “Antouni”
is considered to capture Komitas’ own biography and perhaps is the
song of all Armenian pilgrims. The deep dramatic tension and tragic accents
draw the desires and nostalgia of the homeless wanderer who is far from
his fatherland.
 Aram
Khachaturyan
(1903-1978)
One of the most eminent Armenian figures in 20th century world music is
Aram Khachaturyan. Created according to his own ideologies, creative principles
and dictation of the musical culture of his time, Aram Khachaturyan is
the founder of multiple symphony, concerto and ballet genres in classical
Armenian music. Khachaturyan succeeded in forming a kind of language style,
which is summarized as a combination of international musical styles and
languages. The achievements of previous Armenian composers and theoretical
bases of Armenian folk music have led to the influences and interpretations
of many important features in Khachaturyan’s musical thinking. Khachaturyan’s
art is full of expressive colorful melodies and breathes with vivid melodiousness
existing since Armenian urban song culture. This richness and beauty led
to many calling him the “Rubens of music.” Aram Khachaturyan
is a great Armenian composer, and a celebrated classical composer of the
current century musical culture.
Due to Aram Khachaturyan’s art, the genre richness, quality and
high level of musical thinking, scopes and criteria, typical for the 20th
century music, have been brought to the Armenian musical culture, synthesized
with composers strong personality. Certain commonness in musical thinking
is notable in a number of Armenian composers, followers of Khachaturyan,
which allows us to consider them as representatives of the same composer
school. The ideological, esthetical and stylistic base of this school
is determined by Aram Khachaturyan’s art. Thus, Aram Khachaturyan
is considered the creator of new Armenian composer school.
“Concerto for Violin and
Orchestra”
The “Concerto for Violin and Orchestra” is one of the important
works from the pre-war period of Khachaturyan’s creative biography.
With its high artistic values it can be considered as one of the best
violin concertos of international fame. This work is dedicated to one
of the most famous violinists of the 20th century, David Oistrach, who
was the first performer of it. In addition, some trios of large-scope
works are famous in Aram Khachaturyan’s heritage the Concerto for
violin, along with concertos for piano and violoncello, complete the works
of Khachaturyan’s famous concerto trio.
Armen Tigranyan
(1879-1950)
Armen Tigranyan’s achievements include a number of works from different
genres, with his most famous as the operas “Anoush” and “Davit-Bek.”
These have special importance to Armenian musical history, as his most
significant accomplishment was the creation of the opera “Anoush.”
Perhaps the most popular Armenian musical and theatrical work is the “Anoush”
opera based on Hovhannes Toumanyan’s poem with the same title. The
entire masterpiece represents Armenia in its musical entirety, though
the composer did not use any folk song or themes in its creation. “Anoush”
is an opera of national character, and with Armen Tigranyan’s vivid
national thinking it has been spread rapidly among people and loved by
them. Many arias and songs from the opera have become staples of Armenian
music. Songs such as Anoush’s song, “Asoum en Ourin”
(They Say the Willow Was a Girl Like Me...) and Saro’s aria, “Bardzr
Sarer” (High Mountains). Choral songs “Ampi Takits”
(From Under the Clouds...) and “Hambardzoum Yayla” (Merry
Ascension) are among the favorite parts of the opera. In the opening overture,
the symphonic and choral parts are combined, which summarize the main
idea and important thematic groups of the whole opera.
TEXT BY: MHER NAVOYAN,
DOCTOR OF ARTS
TRANSLATION FROM ARMENIAN BY: ARTSVI BAKHCHINYAN
TEXT EDITOR: SEVAN TOPJIAN
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