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.
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.
He added an important page of national content to the history of Armenian opera art. With the Opera "Anush," Armenian rites, holidays, nature and life found themselves on the classical music stage. The composer was born in Alexandropol and lived in Tiflis, but by all his creative heritage he gave a breath to the cultural life of Yerevan.
Adam Khudoyan is one of the wings of "the Armenian Pentad." He is from the generation of the 1940s who were educated as a result of an important step of the wise leaders of Armenia, and in the 1970s he was the "Minister of Foreign Affairs" who preserved the prestige of Armenian composers.
Gohar Gasparyan is one of the peaks of Armenian vocal art and one of the rare stars of opera art. Her activity strengthened our national image. This episode is dedicated to this pearl of our culture and presents her performances and memories about her.
The occasion for our final episode in 2018 is the diary entries of Anahit Tsitsikyan, a prominent representative of the Armenian violin performing and pedagogical art. After reading several pages, we find ourselves in the France of 1969 hosting our great artists who celebrated the first big anniversary of Erebuni-Yerevan. During the broadcast, you'll listen to performances by Charles Aznavour, Gohar Gasparyan, Armenak Shahmuradyan, Shara Talyan and Anahit Tsitsikyan.
The Greek Galan Trio was formed in 2012. It tends to remind listeners that classical music is not dead and should be close to everyone. At the suggestion of the musicians, the composers of the world write various works for this piano trio. Their performance and spread create occasions for new meetings and ideas.
Guests — Petros Bouras, Babis Karasavvidis, Marina Kolovou, Thomas Bramel, Davit Halajyan.
Nowadays, 37 million people sing in choirs in Europe. Isn't it a great way to connect with educated people, introducing the most important events of our country? "Is it OK to think so narrowly? The country that once spread from sea to sea has gathered around a lake today, and no one can be blamed. We are the first in political and cultural events of all kinds, but then we find ourselves at the end." Tigran Hekekyan's concern is a cry of a witness and of a man of art who won't keep silent.
On November 27, the Center of Armenian Sacred Music held an evening concert of baroque music at Komitas Chamber Music House. We discuss this concert with its participants Feliks Harutyunyan and Daniel Yerazhisht.
Pianist Arus Achemyan's success and mastery became an occasion for composer, pianist and conductor Konstantin Orbelyan to create several chamber music pieces dedicated to Arus in the last period of his life. Arus Achemyan is the only musician who, in 2018, dedicated a special concert, "Jazz Shades in the Classical Spirit," to the 90th anniversary of an exceptional representative of Armenian music culture, Konstantin Orbelyan.