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.
Musicologist and folklorist, senior researcher at the Institute of Arts, PhD in Art Studies Zaven Tagakchyan is the founder and artistic director of Gorani ensemble. During our talk with him, you will listen to a Gorani from the region of Taron, several songs of Iran-based Armenians, two songs from Erznka, a song-cycle for Barekendan from Bithynia, and two dance songs.
For the classic representative of Armenian cello performing art Medea Abrahamyan, the year 2017 is celebratory. Orientalist Sergey Manvelyan's new book, "Medea Abrahamyan," is a unique monument raised in honor of the queen musician.
Violist Maksim Novikov connects cultural events of Armenia and many foreign countries with each other by performing activity. The Suoni dal Golfo (Sounds of the Gulf) festival created at the initiative of Novikov and conductor Gianluca Marcano's in Lerici of the Italian region of Liguria in August 2017 is one of such prospects. During our talk, our guest presents his impressions from Italy and the news of his creative life.
From October 5 to 15, 2017, the Little Singers of Armenia choir, headed by Tigran Hekekyan, was on a concert tour in Israel. This was the next step in their cultural diplomacy. In the Holy Land, they were characterized as "the future of Armenia" and they passed through the symbolic holy places.
They are creating a dignified choral environment and a history with unique biography. "Today's maturity of Hover is the most precious thing for me," confesses Sona Hovhannisyan. The talk following the Hover choir's evening concert on the occasion of its 25th anniversary is about the emotional experiences from the concert. This issue of our program includes parts from that concert with conductor Karen Durgaryan, Vahagn Hayrapetyan Trio, invited musicians and the choir's soloists.
On the occasion of the 90th anniversary of Vladilen Balyan, we hosted this talented musician and talented organizer. 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."
Vache Sharafyan says his art has the solution for the deep East-West dissonance. Our guest also confesses about his world view of a composer, saying: "We are not just today's we. We are also the past. When you feel this, you can see and try to play a role in your time, so that it may change to the better side. Therefore, you bear responsibility." The main topic of this issue of the program is Sharafyan's work "Surgite Gloriae" ("Awake up, my glory") written for the Catastrophe international project.
"There is a music through which each performer is able express himself or herself. Music is music when it really makes this possible," explains our guest whose works have continued being performed on responsible stages of Armenian and world music art over the last years. In the talk with Vache Sharafyan, we touch upon his Concert No. 2 for Cello and Orchestra and the music written for the film "Pepo."
"We bear our culture in ourselves in layers, and one day it comes out again thanks to some composer." This is how our guest explains the power of Harutyun Dellalyan's compositions. The composer's daughter is sure that her father won in his time and it is he that dictates now what to do. The occasion for our meeting with Narine Dellalyan, soloist of San Carlo National Theater Orchestra and violinist of Dellalian Trio, is the publication of Harutyun Dellalyan's five chamber works.
Karlen Mirzoyan's study "Reflection on the Historical Documents Concerning Armenian National Musical Instruments and on the Activity of the Tkzar Ensemble" was published in 2017. The theme of our talk is this book, and the hero is the author, an Armenian who has the biography of a performer, researcher and educator in Armenian national music field.
Suren Hakhnazaryan bears the very lively gene of the brightest violine school of the 20th century, a gene that continues in his family and directs his students. Today, he is one of the classics of pedagogical art, and his presence extends from homeland to the Far East. His name is a synonyme for high and noble art in Armenian music culture. During our talk, you'll listen to excerpts from works by Grażyna Bacewicz and Karmella Tsepkolenko, the pieces "Al Aylughs" and "Keler Tsoler" by Komitas-Aslamazyan, Part II of Shostakovich's String Quartet No. 7, and Menuet from Jozeph Haydn's String Quartet in G major.
The Little Singers of Armenia and the Tavush Ambassadors also sang there. Armenian jazz and Armenian composers’ classic pop music also were heard there. Listen to the final part of our review of the main spiritual-cultural festival of Armenia’s summer.
Irina Zakyan's voice sounds at the main concerts of our cultural life and at important events on stages abroad. She says she had never thought to become a singer. "When I perform spiritual songs, I feel so good that I don't want to sing secular things," confesses our guest.
In the last quarter of the 12th century, the abbot of Haghartsin Monastery was Khachatur of Taron, one of the famous musician vardapets of that period. "As an abbot he enlightened the holy brotherhood, which had been desolate and dim before his arrival," wrote Kirakos of Gandzak. One of our notable musicologists of the 20th century, Nikoghayos Tahmizyan, emphasized three goals that the wonderful vardapet set before the musicians of his time: reformation of liturgical singing, propagation of the art of neumes, and creative activity. The songs and instrumental performances of the Armenian musicians of different generations of the 21st century are also heard inside the Monastery of Haghartsin.
- Robert Mlkeyan, Mher Navoyan, Anahit Papayan
Since 2015, the Armine and Karine Mkrtchyan Duo has given solo concerts abroad. Each of the twin sisters is an individual with her own interesting say in pedagogy and performing arts in Armenia and Switzerland. While when they sing together, the audience falls in love with the harmoniousness of this duo.
It was easier for the skilled guitarist Beethoven to write a symphony than a piece of music for solo guitar. Classical guitar was considered a new instrument in all periods. Such is this instrument for the modern Armenian performing art also, one of whose active representatives is guitarist Zhora Sargsyan, a member of local and foreign prestigious unions.
Barsegh Tumanyan is one of our contemporary great figures of operatic art. Listening to his voice makes one elevated, and listening to his words makes one sober up: "Today Armenia can be rightly called an operatic country: we are in a leading position with our potential and desires." In this broadcast, you'll listen to our guest's reflections on various themes from opera to having a hero for modern times. We have included arias of Davit Bek, Procida, Figaro, and Attila as well as an excerpt from Handel's Messiah.
The second part of our talk with Hmayak Durgaryan covers his memories of Rudolf Barshai, Yevgeny Svetlanov, Vladimir Spivakov and Spain as well as his impressions from Armenia. The broadcast starts with Josef Mysliveček's Trio where one can hear our violinist guest's performance. You'll also listen to excerpts from works by Franz Schubert, Mozart, J. S. Bach, P. Tchaikovsky, Arno Babajanian, and Martun Israyelyan, which are performed by the State Chamber Orchestra of Armenia conducted by Hmayak Durgaryan. The soloists of the anniversary concert in Yerevan were violinists Astghik Vardanyan, Ksenia Dubrovskaya, and Diana Adamyan, flutist Daria Grigorenko, harpist Anahit Danukhyan, and cellist Vahram Sarajyan.
"Hmayak Durgaryan's life began in Gyumri. He came to Yerevan with incomparable smile and talent and took them to Moscow, then to all over the world to spread his word of a violinist, conductor and pedagogue, with the warmth and sincerity of a Gyumretsi." In the first part of our conversation arranged for the occasion of the 75th anniversary of Hmayak Durgaryan, the Armenian representative of Moscow Virtuosi, the hero of the day remembers his native city, Karp Dombayev, Jean Ter-Merguerian, Hakob Vardanyan, Zareh Sahakyants, and episodes from his life spent in Armenia.
"Italians love warm voices and warm performances." Such is our guest, Germany-based Hrachuhi Bassenz, who is a leading singer at the Nuremberg State Theater and has had invitations from the Royal Opera House in Covent Garden and the Vienna State Opera House.
The new album and its presentation in a solo concert became the occasion for this issue of the program where pianist Hayk Melikyan's selected performances are accompanied with his unique explanations. For example, he says, "It is as if you visit Bach as a guest, while Stockhausen is you." Listen to the rest of Hayk's explanations during our talk.
This was the title of the series of concerts with talks and master classes that renowned pianist Shahan Artsruni held in the cities of Gyumri, Vanadzor, Berd, Ashtarak, Goris, and Stepanakert. "I have never had an opportunity to be engaged in teaching regularly; so this was an opportunity for me to convey and communicate," says our guest who is highly impressed from his concerts in Armenia. During our talk, you will also listen to excerpts from the second volume of the "Anthology of Piano Pieces by Armenian Composers" the publication of which began on Artsruni's initiative.
Aram Khachaturian wrote songs during his entire life. Melodiousness was in the basis of his instrumental music. He admired Shara Talyan's singing, wrote letters to Haykanush Danielyan, one of his favorite singers was Zaruhi Dolukhanyan… No coincidence that the 13th Aram Khachaturian Competition is dedicated to solo singing. Our conversation with the director of the Aram Khachaturian Competition Cultural Foundation Anna Ter-Hovakimyan provides us with important and interesting information about the event that is to start on June 6. During our broadcast, you'll listen to Khachaturian's Third Concert Aria and excerpts from the "Ballade about Motherland" and "Ode of Joy." The "Drinking Song" is sung and played by Khachaturian himself.
The first classical music piece that he listened to in his school years was Vagharshak Kotoyan's romance "Like a Dream." Later, in the class of his teacher Gegham Grigoryan, one of the students sang Edvard Mirzoyan's "They Say That…" and since then our guest has fallen in love with this kind of music. "If you can sing your national songs beautifully, then everything will be very well," the teacher advised our guest. The occasion for this conversation is the album "Armenian Classic Romances" (issued in 2015) of famous basso of Armenian and world opera stage Gevorg Hakobyan.