AN ANTHOLOGY OF ARMENIAN PIANO MUSIC, VOL. 3 "COMPOSERS OF ARMENIA" - Şahan Arzruni, piano

An Anthology of Armenian Piano Music, Vol. III

Composers of Armenia

Sargis Barkhudarian

Naz-Par Gayaneh Chebotarian

Prelude Haro Stepanian

Prelude

Aram Khachaturian

Poem

Toccata

Valse-Caprice

Dance

Sonatina

a, Allegro giocoso

b. Andante con anima, rubato

c. Allegro mosso

Levon Astvatsatrian

Prologue and Motet

Tigran Mansurian

A Short Suite

a. Allegro con moto

b. Sostenuto

c. Allegro maesta

Edward Mirzoyan

3. Poem

Arno Babajanian

4. Two Pieces

a. Prelude

b. Dance of Vagharshapat

5, From Six Images

a. Chorale,

b. Dance of the People in Sassoun

Şahan Arzruni, Piano

Mr. Arzruni plays the Steinway piano.

In the aftermath of a singularly tragic period in the history of the Armenian people, on January 30, 1922 Armenia adopted the Soviet Constitution and, subsequently, emerged as one of the republics of the Union. Unquestionably, the creation of Soviet Armenia provided its people with a significant measure of political and social stability, making it feasible to concentrate on artistic and scientific concerns hitherto impossible. Notwithstanding the Marxist-Leninist ideology of social realism, which prevents artists in the Soviet Union from musical experimentation limiting their potential for expression within relatively well-defined parameters, the arts in Armenia enjoy continued advancement in the fields of performance and composition, as well as music research.

reputation. He is generally considered to be the national composer of Armenians--an artist representative of a people's' culture--as opposed to Komitas who is regarded as the Armenian nationalist composer, a musician who absorbs and champions the indigenous elements in the culture of his people. Thus, Khachaturian borrows from Armenian music certain aspects and incorporates them into his personal forms of expression which are characterized by surging melodies that are intensely passionate, pungent harmonies that are sharply expressive, and edged rhythms that are sensually stimulating. In addition, colorful orchestra- tion and exotic instrumentation are hallmarks of Khachaturian's music, which, like a rhapsodic cantillation, is expressed within an improvisatory framework.

Of all contemporary Armenian composers, Aram Khachaturian (19031978) enjoys a wide international

Although a late bloomer as a musician,

Khachaturian developed traits of his creative personality quickly, as evidenced by Valse Caprice and Dance written in 1926, shortly after he began to study music. Perhaps sophomoric but never soporific, these selections offer a lively listening experience, full of excitement and youthful zest. Poem, composed in 1927, is free-flowing and essentially extemporary: various musical segments follow each other without much regard to formal consideration. In this composition, Khachaturian attempts to emulate various aspects of Armenian troubadourish musicsupple rhythms and recitative-like melodies--bringing together dissimilar material under a single, inspired musical setting. Toccata, a product of 1932, is much more dynamic, energetic, purposeful, and rounded than previous compositions. It features an improvisatory, melodic middle section and contrasting outer parts which imitate the plucking of a

saz - - a string instrument of Middle

Eastern origin. Toccata is an enjoyable and flashy work that has proven effective as a vehicle for the virtuoso performer.

In 1948, Pravda denounced a number of prominent Soviet Composers, among them Khachaturian, for "formalistic tendencies" and "bourgeois content" in their music. Sonatina (1959) is an output reflecting the new aesthetic limitations: the composer, within the boundaries of a traditional form and through selfimposed neo-classical concepts, expresses ideas and sentiments that, perhaps, lack originality, spontaneity and abandonment. Yet, despite that, characteristics of Khachaturian's music come through relatively intact and Sonatina's musical impact remains strong. (In this recorded version, the long last movement has been abridged.)

One of the earliest musical efforts of the Soviet Armenian period is Sargis Barkhudarian's (b. 1887) Naz-Par, written during the twenties. It may be characterized by suggestions of intimacy, feelings of sincerity, and structural fluidity.

In Gayaneh Chebotarian's Prelude (1948), the dominant mood is one of introversion. It is based on a single thematic idea in B-flat minor that builds up to a climax through motivic and dynamic growth. Slavic in sound, this work exploits the lower range of the piano with considerable success. Prelude as a genre has been a popular form with composers in Armenia. The recorded sample by Haro Stepanian (1897-1966) evokes the gentle swaying of a dance and suggests the sound of various folk instruments. Structurally, it is also reminiscent of modal scales employed in Armenian music.

Levon Astvatsatrian (b. 1919), born and trained in France, repatriated after the War, becoming editor-inchief of music publications in Armenia. His Prologue and Motet is contemporary in sound, concept, and technique, Astvatsatrian has applied various compositional devices employed in the twentieth centurythematic transmutation, extreme changes of register, rhythmic transformation, and abrupt variations in dynamics--to an ancient Armenian melody. creating a starkly original work which reflects the spirit of our time and culture. A Short Suite, by Tigran Mansurian (b. 1939), is in three movements and was published in 1968. Originally conceived as three independent preludes, they make a winsome set because of their individual content and overall style. They are derivative of Shostakovich's music with emphasis on angular rhythms,

transparent texture, and disjointed melodic line. The second piece, composed in quasi-serial fashion, exhibits a dramatic flair, creating the necessary balance with the two other light-weight pieces. Edward Mirzoyan (b. 1921), Secretary of the Administrative Board of the Soviet Composers' Union, is probably the most visible musician in Armenia.

Poem, a sonic essay exploring the timbral possibilities of the piano, is grandiloquent in concept and theatrical in delivery. It aims at producing massive sound clusters as well as nearly inaudible harmonics on the piano which act as building blocks for this composition.

Prelude and Dance of Vagharshapat, two works from 1944, by Arno Babajanian (b. 1921), are effective concert pieces. The Dance, in particular, carries the stamp of Rachmaninoff's piano style and is

based on the theme that Komitas has used in his first Dance.Six Images

were completed in 1965 and should be considered among Babajanian's best efforts. The two selections recorded on this album make free use of the dodecaphonic technique. As a pair, the stately character of Chorale contrasts nicely with the brisk nature of Dance of the People in Sassoun and the static tempo of the former composition effectively throws into relief the perpetual motion of the latter. In all four selections, the writing evidences not only the inventive talent of the composer but also the incredible gift of Babajanian, the pianist. It is difficult enough to define the characteristics of the music of the Armenian people. And it is nearly impossible to pinpoint the idiosyncracies of traditional Armenian music. What is clear, however, is that this ancient art belongs to the Middle

neighboring people such concepts as rhythmic cycles, tonal schemes, and melodic formations that are alien to the heritage of Western civilization.

Judging from the supple, quarter-tonal flexibility of this music, a piano would seem to be the last instrument capable of capturing its sound. However, noble and fascinating attempts have been made by a number of composers who have simulated an atmosphere to convey the essence of this music. Properly stated, this set of three records is a collection of piano music composed by Armenians, anthology -- a gathering of flowers -- that includes amaranths, some cultivated and others wild, a few large but mostly tiny, a small number in full bloom yet others flowering, and some even dried, but all preserved intact. Şahan Arzruni

In addition to his recognition as a concert pianist, Şahan Arzruni is

known as a composer, lecturer, and ethnomusicologist. An American

citizen of Armenian descent, Mr. Arzruni was born in Istanbul to a family of musicians. After graduating from the local Conservatory, he continued his education at the Juilliard School of Music where he studied piano with

Eduard Steuermann and Sascha

Gorodnitzki.

In 1968, Şahan Arzruni began his association with Victor Borge, which has since taken him to innumerable

cities in North America and Europe, always as a "straight man" for Mr. Borge. He has performed in recitals, lectures, and workshops throughout the United States, South America, the

Middle East, and as soloist with major orchestras, such as the Boston Pops

with Arthur Fiedler and the Buffalo

Philharmonic with Michael Tilson Thomas, among others. Mr. Arzruni's

special interests are in presenting the wealth of excellent music composed for young pianists by the masters, and in exploring the rich heritage of Armenian music from earliest times to the present day. He records extensively, has to his credit many writings, and is the originator of the popular radio series, "The Young Musician. "

AN ANTHOLOGY OF ARMENIAN PIANO MUSIC

MHS 4040 Volume I: Classic Armenian Composers

MHS 4110 Volume Il: Composers in the Diaspora This recording has been made possible through a generous grant by the AGBU Alex Manoogian Cultural Fund.