The Armenian concert pianist Sona Shaboyan has been playing the piano since the age of six. She studied at the Tchaikovsky-Conservatory in Eriwan, and later in Switzerland
and Germany. Her CD exclusively comprises works of Armenian composers, such as Aram Katchaturian, Robert Andreasian, Georgy Saradian, Alexander Arutiunian, Arno Babachanian, Eduard Mirsoian and Ruben Sargsian. All of these works are world premiere recordings!
Armenian Miniatures
The Armenian relationship to the piano is still relatively young: Armenian composers
first began composing for this instrument only in the last quarter of the 19th century. Despite this late start, such music experienced
a great upswing. As early as 1916, the Komitas dances were completed; these later became part of some pianists’ standard repertoire.
They were also the foundation of the chamber music orientation of the Armenian piano sound.
The Komitas dances are an arrangement
of folk dances by Komitas (Soghomon Soghomonian). Their titles convey not only the location but also the instruments the pieces had been written for. “Erangi”, a graceful and feminine dance, is filled with middle voices which sometimes give the piece a sweet and gentle color, sometimes
tense, woeful mood. “Marali” is characterized by a trusting and intimate, but also sad atmosphere.
In contrast, “Shushiki” radiates sparks of joy and playful coquetry.
Komitas organizes these pieces by means of a highly differentiated rhythmical structure, evoking associations many different folk instruments.
The works of Aram Katchaturian, however,
significantly influenced the development of Armenian piano music with their dynamic, flamboyant and flashy colors derived from a distinct concertante style: the famous Toccata
(1932) represents the beginning of the new Armenian school of piano music. It is a piece in which the diversity of the national character is expressed through the typical features of virtuoso piano concertos. The dynamics and infectious energy of the Armenian
dance, the surprising interpretation of traditional compositions, the masterful imitation of folk instruments and their colorful harmonies create a unique palette of sounds and reflect the fascinating Eastern world.
Robert Andreasian’s piano arrangement of Armenian songs were written in the 1940s and ’50s; three of the pieces heard on this recording
are based on melodies recorded by Komitas. The song “Garun a” (“It is spring”) is full of deep sadness. It begins with a hazy prelude, then brightening through the lightness
of its melody. The song is full of spiritual warmth and sincere feeling. The graceful, humorous
song “Hoi nazan” enchants through its odd interplay of articulations, which are especially obvious in front of the backdrop of flexible, finely ornamented accompaniment. The broad cantilena of the song “Dzirani tsar” (“Apricot tree”) is surrounded by a typical romantic accompaniment and conveys
a feeling of deep passion: surprising “thunderbolts” reverberate inside us for a long while; they are full of bitterness and resignation.
The songs “Kyamantcha” (an Armenian
string instrument) and “Yes mi garib Blbuli pes” (“I am a wandering nightingale”) were based on themes by Sayat-Nova, the great 18th century Armenian folksong interpreter.
In “Kyamantcha”, the piano’s brilliant, colorful figuration stands out as does the diversity
of its register changes. Andreasian’s arrangement of “Yes mi garib Blbuli pes” is the confession of a lonely poet, who begins his story in an undertone, only to increase the degree of his emotional expression with every further step.
“Krunk” (“Crane”) is one of the melodies
which is near and dear to the Armenian
heart, and realized in the 1960s and ’70s by Georgy Saradian. Its introduction is based on the song’s leitmotif, making the listener immediately feel a tragic impulse.
At first, the funereal melody is very restrained; only in the course of the piece does it develop into a powerful concerto with emotional passages and chords. And the ostinato E in the bass lends the piece an atmosphere of hopelessness and tragedy.
The “Two Pictures” (1960) by Alexander Arutiunian are characterized by specific figures;
each piece has a distinct style. “Evening in Ararat Valley” has a certain resemblance to the lyrical preludes of the Romantic composers
while the hasty, glittery octaves and wide chordal leaps in the “Soldiers’ Dance” continue where Liszt and Rachmaninoff left off. But Arutiunian’s own inventiveness is not to miss in his seemingly simple melody with a constantly repeating accompaniment. This is very effective, especially when the composer
modulates. The ascetic harmonization combined with a rhythmic ostinato constantly
increase the tension in the piece, creating an atmosphere of a heathen ritual.
The popular “Vagarshapat Dance” (1944) of Armenian composer Arno Babachanian is based on an Armenian folk dance which Komitas himself used in his piece “Erangi”.
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Arno Babachanian was 23 years old when he wrote this piece. His honorable predecessor
had interpreted the melody as a harmless dance. In contrast, Babachanian created a brilliant, temperamental piano piece replete with color.
The “Six pictures” (1965) give a unique overview of the development of Armenian piano music. The work succeeds in expressing
the characteristics of the old Armenian national arts using contemporary musical means: “Improvisation” and “Little Toccata” display succinct dynamics in their use of rhythmic ornaments. The “Folk Song” unites the different characters. “Intermezzo” contains
an unexpected dramatic change in that two differing types of movements at no time collide with each other – a wonderful dramaturgic invention! “Chorale” is in a perfect,
strict 4/4 rhythm; the completely diverse polyrhythms in the “Sassun Dance” which follows are a complete surprise.
“Poem” (1969) by Eduard Mirsoyan begins
with powerful, romantic steps. But as soon as the first waves of sound are over, we enter another world: light, intermittent tone-colors are woven into the fine melodic lines. The middle section begins extremely simply and restrainedly, soon developing into an enormous wall of sound. Mirsoyan achieves dynamic pressure by overlapping two simple ostinatos with different metrical structures.
“Present for Komitas” by Ruben Sargsian
(1984) is the work of a composer of the youngest generation. We hear reminiscences
of Ravel’s famous cycle “Le Tombeau de Couperin”, with whose difficult, polyharmonic
sounds the characteristic Komitas intonations
are completely intertwined. Thus develops
a fragile world of dreams and sadness; the dark glockenspiel at the end – which reminds
the listener of Komitas’s “Krunk” – becomes
the symbol of the Armenian people’s tragic fate.
The Composers
Komitas (born: Soghomon Soghomonian)
(1869–1935) was a composer, music ethnologist, singer, choral conductor and founder of the scientific ethnography of Armenia. He is considered to be an exceptional
representative of Armenian musical culture and put together the first collection of Armenian farmers’ songs, songs of the old wanderers, folk dances, medieval Thagen and folksongs from Kurdistan. He is also the author of a liturgy (Phatharag), an arrangement
of folksongs for piano, solo voice and choral songs.
Aram Katchachurian (1903–1978) was a composer
and professor at the Moscow Conservatory.
As a recognized artist, he was a member
of the academy and bearer of the highest honors. He became renowned throughout the world for his concertos for piano, violin and violoncello as well as his ballets “Sabre Dance” and “Spartacus”. He also composed three symphonies, a number of instrumental sonatas, rhapsodies for piano, violin and violoncello,
a “Children’s Album” for piano and music for theater and film.
Robert Andreasian (1913–1986) was a pianist, composer and professor at the Erivan Conservatory.
He composed a piano concerto, the poem “Nairi” for piano and arranged a number of songs by Sayat Nova and Komitas for piano.
Georgy Saradian (1919–1986) was likewise a pianist, composer and professor at the Erivan Conservatory. He composed a trio for piano, a suite based on folksongs for two pianos
and other works for piano including arrangements
of songs by Sayat Nova, Sheram and Komitas.
Alexander Arutiunian (*1920) is a pianist, composer and professor at the Erivan Conservatory.
He has written numerous works, including the opera “Sayat Nova”, the symphony
“Cantata on the Homeland” for soloists,
choir and orchestra, as well as concertos
and sonatas for various instruments and orchestra. His “Concerto for Trumpet and Orchestra” and his “Polyphonic Sonata” for piano are especially well known.
Arno Babachanian (1921–1983) was a composer
and pianist. His most well known works are the “Heroes’ Ballads” for piano and orchestra, the “Polyphonic Sonata” for piano as well as the “Six Pictures” for piano. He composed sonatas for violin and piano, concertos for violin and violoncello with orchestra, string quartets and a piano trio, works for film as well as many songs which enjoy great popularity.
Eduard Mirsoyan (*1921) is a composer and professor at the Erivan Conservatory. As chairman of the Association of Armenian Composers and president of the International
Freedom Fund in Armenia, he is a highly public figure. He has composed various cantatas,
a symphony for string orchestra and tympani, a number of chamber music and vocal works as well as music for cinema and television.
Ruben Sargsian (*1945) is a pianist, composer
and professor at the Erivan Conservatory. He has composed symphonies, instrumental concertos, string quartets, sonatas for piano, violin and violoncello, vocal and instrumental cycles as well as music for children.
Fotos: Oli Rust