Children's Album, Book 1 and 2
Toccata
"Eem yerazheshdutyoones ghoshd eh." remarked Armenian composer Aram Khachaturian (1903-) , when I met him in early 1972. He says his music is coarse, straightforward and should be played without affected refinement. It is totally unpretentious, virile and strong. His emotions are to be projected without mannerism, in an uncluttered and completely unabashed way.
The two albums recorded here give ample opportunity to sample Khachaturian's musical language and its attributes. Although composed for advanced youngsters, creatively they are sufficiently well-rounded to demand commitment from the listener. The first album ( also published in the unauthorized title "The Adventures of Ivan") begins with Andantino -- a very simple melody accompanied by chromatically moving left hand; a rather ordinary practice which here sounds fresh and novel.
In the second half, the change of register and switch to syncopated rhythm is a delight to the listener. No Walking Today is similar in effect. Simplicity of material, clarity of form, directness of musical language, all enhance this short work. Ljado is Sick is different because of its chordal texture. The issue
here of proper balance and rhythmic steadiness -- for, these are the elements that convey the somber mood. Birthday is full of ebullience. The traditional 3/4 waltz is transmuted to unawed gallantry: bold, courageous and frank. Etude, is an exercise in precision and evenness. Here, a charming motif is accompanied by a staccato figure; the punctuating chords and repeated notes all culminate in an excited ending.
A Musical Picture is an utterly intense description of a libidinal encounter, almost graphically portrayed. Harmonic tensions and subsequent releases are magnificently satisfying. Invention, a piano transcription of a segment from the "Gayaneh" ballet, is contrapuntal. Flexibility of tempo is called upon to give a serene and atmospheric air. Fugue is more like a discipline in compositional techniques. The subject, treated according to the rules in a variety of ways, is plain and distinct.
Horseman's March is based on the musical representation of the sound of a galloping horse. With this in the background, the energetic melody trots spiritedly until the unavoidable halt. The last in this album, A Folk Song, has the nature of a dancing song. It has the distinct character of songs which
accompany young maidens engaged in Armenian dance. It is subtle and the bass implicative of the sound of dumbek.
The second album, composed in 1964, opens with cheerful Skipping. A contrast of touch is the main element in this breezy tune. Bed Time Story, similarly based on a simple melody, recalls a slow waltz. It is plaintive and restful. Eastern Dance is intriguing because of its 3/8 time signature and the phrasing. This bouncy hop, with an insistent sound, is stimulating and refreshing. Little Leopard on the Swing is every bit capricious. At times playful and jolting, at others reticent, the baby feline is loveable. Play on the Tambourine displays the dry sound of this instrument against a choppy bass line. The middle portion is more lyrical with a sweep.
The Two Funny Aunties Have Quarelled is like conversation played at double speed on tape recorder. The exquisite portrayal of the two ladies is a perfect example of humor in music. In a totally different vein, Funeral Procession is stately. The insistent B-flat in the bass is like the bass drum used in bands for similar occasions. Its highly intense sound helps to structure the unrelaxed air. Rhythmic Gymnastics, resembling an etude, concentrates on a technical problem: in this
case a rhythmical one. Created vitality overcomes the danger of monotony. Fugue is similar to the earlier one.
The concluding piece, Toccata, is technically the most demanding. Perpetually moving forte eighth notes, continuously jagged rhythms and accents make this motoperpetuo a fascinating work. Generally speaking, the second album has harsher dissonances, more angular melodies and sharper rhythms.
Aram Khachaturian plays an important part in the musical life of his country. He is professor at the Moscow Conservatory and also active as a conductor.
SAHAN ARZRUNI
Sahan Arzruni was born in Istanbul of Armenian Parentage. He Started study of the piano at the age of four in his hometown and continued and received his degrees from Juilliard School of Music. His teachers included Ferdi Statzer, Edward Steurmann and Sascha Gorodnitzki. In addition to original compositions, he has to his credit several music textbooks , articles and recordings. He is currently associated with Victor Borge and has performed extensively in both Americas and Europe.
A Musical Heritage Society recording, produced under the direction of Dr. Michael Naida Library of Congress Catalog Card No. 72-750875
