How is Armenian music perceived in the world today? How is Armenian music presented in the world? At this present time, how successful are Armenian musicians? What should be the future of Armenian music?
Armenian music is used as a vehicle for presenting Armenian culture. Music can be analyzed as a component of an overall cultural strategy. Also considered is the interrelationship between music and education. These themes and others are presented in a live discussion on the show. The show features well-known Armenian composers and performers.
This episode is dedicated to the life and work of Pavel Lisitsyan, the baritone number one in the Soviet Union, an outstanding artist of the Moscow Bolshoi Theater, and pedagogue. Here are memories of his father's family, trials at different years of study, participation in the World War II, and episodes testifying to his world recognition.
Hasmik Grigoryan's musical talent was born of a luxurious Armenian-Lithuanian opera duet. The singer who has the most prestigious awards confesses that her real opera career is just starting. We witnessed her ascent: the first Yerevan Opera Festival opened with arias of Madama Butterfly, Manon Lescaut, and Tatyana performed by Hasmik. "The entire essence of my opera world is Madama Butterfly," emphasizes Vem Radio's precious guest and friend.
Honored conductor Yuri Davtyan has multiplied the glory and honor of our Opera House and has created a strong symphonic performing tradition in homeland and abroad. To this day, pedagogy has been an integral part of his life. The mastery of our guest started from the depth of 60 years, passing through the crucible of Konstantin Sarajev and Mikayel Tavrizyan.
"This singer who was born in Moscow, was educated in Russian educational establishments and who communicated with Russian and world music art has been instilled with the culture of her ethnic ancestors through her mother's milk and has been engaged in its good popularization in her entire creative life," wrote the famous singer Sergey Yakovenko. This episode of the program is dedicated to Zaruhi Dolukhanyan, a diamond of Soviet-Armenian chamber vocal art.
Each national culture has a sound culture. Lusine Zakaryan is a symbol of such culture in modern Armenian musical and performing art. "She appeared to make clear the word "spiritual" that was slumbering in the dictionary," wrote Silva Kaputikyan.
“You have a brilliant voice and you are a wonderful Carmen. Go on singing”- our guest Juliet Galstyan has received this kind of wishes from Teresa Berganza. Her name has about a 20-year-old-history in performance art of vocal in abroad. The singer with the voice of soprano in the past and of mezzo-soprano today, lives her second artistic youth.
Araks Davtyan became a person of the supreme embodiment of art.
She was a noble example of an intellectual, a singer, a person and a citizen.
Pianist Hayk Melikyan gave the first interview to Radio Vem in 2010. The young musician had issued only two CDs at that time; the artist who was always in search began the 1900+ concert project at his own initiative; the virtuoso pianist rarely performed with orchestras, and the favorite part of his concert programs was the third part, the improvisations…
The Violin Concerto of Aram Khachaturian is the first example of a major genre that has been written for this instrument in the history of Armenian music. The the young composer took the idea of writing a major work for violin from Avet Gabrielyan, the founder of Komitas String Quartet, a prominent violinist of his time, and an old friend of Khachaturian. Also the performance of still young David Oistrakh, who won in 1936 in a Soviet Union competition, had left a bright trace in Khachaturian's mind.
Grigor Yeghiazaryan was the forefather of the music of his time and the teacher of Armenian composers' art. Each of his new works was a new invention. The idea of his art is the victory of life and the revival of the fatherland. The innovative composer founded a new tradition in the Armenian symphonic music, establishing the epic-figurative symphonism.
"If the Germans took Stalingrad in World War II, the Turks would enter Transcaucasia and the name of Armenia would be finally erased from the world map. We defended our own fatherland, Armenia," said Ghazaros Saryan, a soldier of the 7th Anti-Aircraft Machine-Gun Battalion and a symbol of nobility in Armenian musical culture.
Vladilen Balyan… Head of Leninakan Music College and of Yerevan Dancing Art State College, the first chief editor of the Music Editorial Office at the Radio Committee of Armenia, artistic director of the Haypetestrada concert organization, head of Hayfilharmonia, founding director of the Alexander Spendiaryan House-Museum… He believes the most important work of his life was the realization of his own idea, the creation of the stained glass panel for Martiros Saryan's "Armenia."
Grigor Hakhinyan was distinguished in the Armenian composing school by such a national creation where everything was natural and sincere. His great and bold pen inspired with impressive characters from the history, nature, culture of his homeland.
“We have to find a key to get closer to Bach’s humanism, to communicate and to clean ourselves. The Passions by Johann Sebastian Bach are the most humane monuments of the world music.” In the history of the Armenian performance art, these compositions have been played under the direction of conductor Zaven Vardanian. He is one of the art workers who uphold the respect for the Armenian musical art.
Our entire nation expresses herself with the voice of Komitas. He legalized the principles of performing Armenian songs. In this radio essay we have also included the ten commandments of Komitas for the art of singing. He paid attention to the correct pronunciation of words and to the close connection of speech and music. According to Komitas, speech is an expression of thought, and musical voice is an expression of feeling.
Geniuses have often been inspired by each other. Komitas is such an incentive and charge for Armenian culture. Yeghishe Charents loved Komitas with filial love and felt the awe of a believer toward him, while Martiros Sarian had a love for him that reached worship, saying that it is not enough to love Komitas; it is necessary to always listen to him.
"When an artist reveals the meaning of life to an entire nation, he or she is a genius. Komitas has such an importance for the Armenian people. The great Komitas confirmed the right of the Armenians to be called a creative nation." Sargis Najaryan reads the memories of Hrachia Adjarian, Garegin Levonyan, Panos Terlemezyan, Karine Khrimyan. This episode of our program is based on the book "Komitas the Miracle Worker" by Khachik Safaryan.
For our radio essay we have chosen a few excerpts from Khachik Safaryan's "Komitas the Miracle Worker" collection.
"His songs are different from the songs of others, they are only his... They seem to have been born with us, with our generation, just as many songs of our nation were once born and became an inseparable part of life" (Araksi Saryan). This radio essay is dedicated to Khachatur Avetisyan, composer, pedagogue, outstanding cultural figure, and founder of the national school of qanun.
Alexander Spendiaryan's "Three Palm Trees" symphonic poem (1905) gave the Armenian school of arts an example of a response worthy of the artistic and social trends of its time. It immediately raised the newborn Armenian symphonic art to the level of classical tradition and, still during the composer's lifetime, started to be performed in most famous concert halls of European capitals.
Kristapor Kara-Murza rooted Armenian polyphonic singing. He bears the seal of the enlighteners of the second half of the 19th century. His song inspires life; it is bold, determined and leading. We present a radio essay created six years ago and dedicated to the 160th anniversary of the composer.
In 1936, 33-year-old Aram Khachaturian opened the history of a new genre with his Piano Concerto. Created in one breath, this work became, after its birth, part of the repertoire of almost all pianists in the world.
Gevorg Armenyan's biography of a composer began after participation in World War II. He left a memory of a person with a weighty human and professional authority. For the wide audience, the march from the film "Guys from the Army Band" became a sounding symbol of this film and of the image of Gevorg Armenyan. Our radio essay is based on the unpublished memories of Gevorg Armenyan, one of the great representatives of the Armenian musical culture of the 20th century.
The first instrument in Aram Khachaturian's musical life was the "big violin," as he called the cello. He enriched the repertoire of his favorite instrument with works of concert and chamber genres.