2005_03 Hye Sharzhoom Newspaper March 2005

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Hye Sharzhoom
March 2005
Anthology of Armenian Music-CD Set
Komitas Vartabed
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 ofthe
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 Yekmaly an, 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 andthe forefather
of generations of music.
Komitas took Armenian musi-
cology 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 ten-
Aram Khachaturyan
dencies and emotion show the conscientious and precise attitude
Komitas portrayed toward expressing his heritage andbeloved 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 ofthe 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 clas-
sical 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
ofthe same composer school. The
ideological, esthetical and stylistic
base of this school is determined
by Aram Khachaturyan' s art. Thus,
Aram Khachaturyan is considered
Kazan Professor Opening
College of Arts and Humanities
Armenian Studies Program
VACANCY # 05LAH01
http://artshum.csufresno .edu
Henry S. Khanzadian Kazan Visiting Professorship in Armenian Studies
• Appointment is for one semester, only. Available either Fall 2005,
Spring 2006, Fall 2006 or Spring 2007. (Candidates must specify semester for which they are applying.)
This is a one time appointment for one semester only.
• Salary: Dependent upon academic preparation and professional experience.
• Teaching Load: One course in modern Armenian studies (nineteenth
or twentieth century) is required, other teaching is optional.
• Instructional Level: Undergraduate.
Specific Position Characteristics: The successful candidate will be
required to teach a single course in Armenian Studies in the modern
period (nineteenth century or later). Candidates should indicate the
specific course they propose to offer, including a very brief outline. In
addition, the successful candidate will be required to give three public
lectures on a single topic to be published later as a monograph. Candidates
should indicate their three-lecture topic by title in their letter of application. The successful candidate may be expected to teach in a distance
learning mode. The successful candidate will be expected to work
cooperatively with faculty and staff in the department and college. The
successful candidate may be asked to teach an additional 3-unit course
during the semester.
Qualifications: Academic Preparation: an earned doctorate. Preference will be given to candidates with a completed Ph.D. in Armenian
Studies or a related field, and who have published books and articles in
the discipline of Armenian studies or Armenian history or a related area.
Teaching or Other Professional Experience: The university is seeking
candidates who possess a record of distinguished publication and research in modern Armenian studies and whose professional career has
been in university teaching or research in Armenian Studies, Armenian
History, or a closely related field. The successful candidate must have the
ability to work effectively with faculty, staff and students from diverse
ethnic, cultural, and socioeconomic backgrounds.
Online application form can be found at http://www.csufresno.edu/aps/
vacancy/scl.pdf
Applications: Applicants should send a cover letter describing how they
meet the requirements ofthe position. The letter should also specify the
semester for which they are applying. A complete up-to-date curriculum
vita; three letters of recommendation; names, addresses, telephone numbers and email addresses for five references must also be included with
the application form. All materials should be sent directly to:
Dr. Bruce Thornton, Search Committee Chair, Armenian Studies Program, California State University, Fresno, 5245 N. Backer Avenue M/S
- PB4, Fresno, CA 93740-8001. Phone: (559) 278- 7037 Fax: (559) 278
-7878: e-mailto: Brucet@csufresno.edu
Open Until Filled: To ensure the fullest consideration of their application , applicants are encouraged to have all application materials on file as
soon as possible.
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 creativebiography.
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
ofthe most famous violinists ofthe
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, "B ardzr
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 ofthe whole opera.
Text by: Mher Navoyan,
Doctor of arts
Translation from Armenian by:
Artsvi Bakhchinyan
Text editor: Sevan Topjlan