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.
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 Our radio essay is based on the unpublished memories of Gevorg Armenyan, one of the great representatives of the Armenian musical culture of the 20th century.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.
In 2018, the third edition of the collection of songs performed by Hayrik Muradyan, "Native Songs," was published under the editorship of merited musicologist Alina Pahlevanyan. "Every thing that he did smells of nobility," emphasizes our guest Narine Dellalyan, Chairman of Hayrik Muradyan NGO, Lisbon-based violinist, and beloved sister-in-law in Hayrik's family. After our conversation we learned that this book has been recommended by the Ministry of Education of Armenia as a teaching material in general education schools.
On November 16, 2018, Armenian National Philharmonic Orchestra (conductor Ruben Asatryan) and soloist, pianist Hayk Melikyan presented Arvo Pärt's "Lamentate" for the first time in Armenia. Written in 2002, the work is dedicated to the sculptor Anish Kapoor and his sculpture "Marsyas." Hayk Melikyan presents the theme of "Lamentate": "Earthly Marsyas dares to enter into a musical contest with the divine Apollo and loses. Apollo hangs Marsyas on a high pine tree, skins him and kills him."
Thirteen years ago, sculptor Anish Kapoor turned over this myth. Marsyas' "skin" extends along the entire length of the hall in the Tate Modern Museum. The powerful red gramophone-like pipes remind us of music in the first place. At the same time, they are the bloodied bones of Marsyas.
Since 2016, at the initiative of Samvel Baloyan, artistic director of the Center of Culture, Ministry of Education and Science, a boys' choir has been functioning at A. Chekhov Basic School No. 55. Under the leadership of Narine Voskanyan, member of Hover State Chamber Choir and choirmaster of the Le female group, the boys' choir takes part in the current events of the cultural life of their school and Armenia (the gala concert of the Singing Armenia competition and festival of choral music for children and youth, Revival Festival, etc.) and has presented two solo concerts within two years.
The end of the 1930s... Konstantin, a 10-year-old musician of the military orchestra of the neighboring country, played the piano and queued up for days to convey to his jailed mother the apples he had bought with the money he earned... "The son of the people's enemy" would later turn the State Variety Orchestra of Armenia into a symbol of the Soviet empire and of his homeland. This episode of our program is dedicated to the 90th anniversary of the innovative musician Konstantin Orbelyan, thanks to whom Armenian pop-jazz music became the property of the world.
Before our eyes, he is transforming from a gifted Armenian child into a serious pretension in the contemporary Armenian ballet. Dancer Raffi Galstyan, a soloist of the Alexander Spendiaryan National Academic Theater of Opera and Ballet, has already embodied the character of Armen in the ballet "Gayane" and is going to perform in "Spartacus" and "Cipollino" whose choreography has been described as "children's Spartacus." The year 2018 is a new stage in the artistic biography of our guest and in his successful participation in competitions.
On October 17, for the first time on the stage of the Alexander Spendiaryan National Academic Theater of Opera and Ballet, young tenor Mihran Aghajanyan performed in Giacomo Puccini's Tosca. In the past period of the creative life of the 26-year-old soloist of the Mariinsky Theater are the departments for piano and conducting at St. Petersburg Conservatory, while in the present, the route of concert tours connecting the West and the East.
Armenak Shahmuradyan (1878-1939) was a cherished pupil of Komitas. In the history of Armenian music he is known as an interpreter of the Vardapet's songs. With the endurance, invincible energy and boldness of а Mush Armenian, the Nightingale of Taron tempered his creative life, which was formed in Kevorkian Seminary, Nersisyan School, at Pauline Viardot's private lessons, Paris Conservatory and with the exceptional success of his debut at the Grand Opera. This episode of our program is dedicated to the 140th birth anniversary of the Golden Tenor.
You'll know who has made this confession if you listen to our conversation with musicologist and art critic Tatevik Shakhkulyan. She was the coordinator and participant of the "Intercultural Dialogue: Music Education Paths" international forum held on September 14 and 15 at the Komitas Museum-Institute.
Sevak Avanesyan was attracted to the cello by Steven Isserlis and was taken to Europe by the school of Medea Abrahamyan. He is a disciple of teachers of the richest generation in the history of the cello. He knows and honors the name and work of Diran Alexanian, who was born in Constantinople, became an exceptional teacher in France in the early 20th century and is the founder of the American cello school. About the winner of the Competition for Young Soloists (Luxembourg) and of the European Music Competition (Lyon), the documentary "Rhythm and Intervals" has been filmed that has been awarded several prizes.
"...Take Komitas with you. There are no swamps or mosquitoes in Harich. Komitas will certainly recover from malaria there, otherwise his life is in danger if he stays in Etchmiadzin this summer…" These words open the book of memoirs "My Memories of Komitas" by historian, linguist, vardapet, Kevorkian Seminary teacher, Director of Etchmiadzin Printing House Yervand Ter-Minassian, who was originally from Harich. In 1905, Komitas went to Harich Monastery for recovery and recorded 34 new songs within 6-7 weeks. It is even sais that it is in Harich that Komitas formed his first big choir.
Four years ago, knowing this story and wanting to organize a festival, Tigran Hekekyan followed the star of Komitas to Harich Monastery...
Strong and crystal expression, warm transferability, and influential immediacy... The assessments given to her research work from her first performance to the glorious end are uniquely rich. "Anahit Tsitsikyan is a glorious image in the firmament of modern Armenian culture. A talented violinist, honored artist of the Republic of Armenia, deep researcher of the Armenian performing arts, pedagogue and publicist, person with diverse interests," writes musicologist, doctor of arts Margarit Rukhkyan.
In the movie "Lorik," the composer of its music sings about the miracles happened in his fairy town, his beloved Yerevan, with colors that he took from the finest and familiar feelings. "I was working like an artist. There was the picture, and I would take my own melodies out of my treasury," says the composer.
In 2013, by the enthusiastic and caring efforts of well-known figures of contemporary Armenian musical art Tigran Hekekyan, Sona Hovhannisyan, Sarine Avtandilyan and Yuri Yuzbashyan, the Association of Armenian Choral Conductors was created. The chairman of this public organization is young conductor Kristine Sharoyan, who carries out unlimited performing and social activities. Thanks to her service, the world family of Armenian conductors lives in an enthusiastic tempo and with mature target programs. One of such projects is the new album titled "Music Treasures: Armenia."