Armenian

Easily the finest account of Khachaturian’s Piano Concerto since Moura Lympany’s pioneering recording under Fistoulari (Decca, 3/53 – nla), this new version on ASV is the one to have. Dora Serviarian-Kuhn and her Armenian compatriot, Loris Tjeknavorian are in every way first-class: both identify naturally with the sinuous oriental flavour of the melodic lines and understand – as did Lympany and, in America in 1946, William Kapell (RCA, 5/95) – that the outer movements need above all to convey thrusting vitality. (Remember that the first Moscow performance – which delighted the composer – was by the Russian virtuoso, Lev Oborin.) Here there is plenty of drive and rhythmic lift in the outer movements.

Great composers of Armenia are reunited under this great CD to capture the essence their country! Great choice and great result! A must have for any people who love Armenia and is beautyful music!

Recorded in the Aram Khachaturian Concert Hall in Yerevan, the capital of Armenia, this disc offers an opportunity to sample music by Armenian composers, here represented by three works for cello and orchestra, and is in a way a follow-up to the 2011 release [BIS-1948] which was also devoted to concertante works for cello by Armenian composers. The programme opens with Aram Khachaturian, whose 1946 concerto, which contains many Armenian and Georgian folkloric allusions and rhythmic dances like those of the Ashoug, has been described as being closer to a symphony with cello than to a concerto. The second work, Arno Babajanian’s Cello Concerto, is permeated by specific intonation rooted in Armenian folk music and folklore. The disc concludes with the cello concerto by the French composer of Armenian origin, Michel Petrossian, a work from 2022 entitled 8.4, an allusion to the book of Genesis, chapter 8, verse 4, where Mount Ararat is first mentioned. The work glorifies the symbolic and spiritual aspect of Ararat, the ‘sacred mountain’, and integrates Armenian and Byzantine liturgical chants.

Composed to mark the centenary of the genocide of 1915, the Armenian Requiem is a large-scale sacred work structured around the liturgical chants encountered in requiem services appended to the traditional Armenian Mass. It is written in a form that, uniquely for the music of the country, is not based wholly on the model of the Latin Mass. Instead, taking the precedent of Britten’s War Requiem, Ian Krouse embeds poems as interludes, and his work – a poignant meditation on loss couched in a marriage of Western and Armenian forms – offers both conciliation and hope.

The Armenian Apostolic Church has a wealth of spiritual chants known as sharakans. In the course of the centuries have grown in number. The collection of hymns in the Armenian Church is called Sharaknots (Hymnal). Our blessed holy fathers, founders of the literature of translation, along with translating the Old and New Testaments, introduced' Armenian Christian Hymnology and initiated Armenian national church music. The first sharakans were written as early as 5th century AD. Some of the most inspired and multiple talented sharakan writers, who were responsive for the composition of words and melodies combined, are St. Mesrop Mashtotz, St. Moses Khorenatzi, and Patriarchs Sahak and Partev…

The Armenian Apostolic Church has a wealth of spiritual chants known as sharakans. In the course of the centuries have grown in number. The collection of hymns in the Armenian Church is called Sharaknots (Hymnal). Our blessed holy fathers, founders of the literature of translation, along with translating the Old and New Testaments, introduced' Armenian Christian Hymnology and initiated Armenian national church music. The first sharakans were written as early as 5th century AD. Some of the most inspired and multiple talented sharakan writers, who were responsive for the composition of words and melodies combined, are St. Mesrop Mashtotz, St. Moses Khorenatzi, and Patriarchs Sahak and Partev…

“Hover” choral ensemble was established within “Hover” State Chamber Choir. It is gathered from the leading singers of the choir, who are also orchestra musicians. It started to appear in Europe as “Armenian Voices” since January 2012.
Gevorg Avetisyan is one of the leading flutists of Armenian Philharmonic, State Youth orchestras and Opera Theatre orchestra. Kim Sargsyan is a violinist of Armenian National Opera and Ballet Theatre.,.

Isabel Bayrakdarian is a certified classical music diva today, an excellent Mozartian, Handelian, songs and lieder recitalist and overall a very bright star in the current line-up of young sopranos. And this is how she started her recorded career- with a disc of Armenian liturgical music…