Armenian. Komitas - Aslamazian (Chilingirian Quartet) (Transciptions) (1997) - ISBN:B00173E37K

Armenian. Komitas - Aslamazian (Chilingirian Quartet) (Transciptions) (1997)

Date: 10 November 2010, 05:32

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Armenian. Komitas - Aslamazian (Chilingirian Quartet) (Transciptions) (1997)
EAC Rip | FLAC, IMG+CUE, LOG, Complete Artwork (jpg) => 239 MB
Classical/Folk/Instrumental | Label: MEG Recordings. USA

“ The music of Komitas (1869-1935), the Armenian musicologist and composer, is voluminous and diverse. It encompases liturgical chants, art and folk songs, choral settings and piano pieces, all of which capture, as no other composer's work has done, the Armenian ethos. The human voice in song is the path which Komitas' compositional thinking takes. In his dual role of musicologist and composer, Komitas produced a body of work which is characterized by a continuing search for the compositional possibilities of the folk elements of Armenian village life.
Born Soghomon Soghomonian in Kutahia. Ottoman Turkey, Komitas first studied at Etchmiadzin, the spiritual center of the Armenian Apostolic Church, where he mastered the art of liturgical singing, founded and tutored the seminary choir, and published a volume of Armenian folk songs. At this time, he began his life long research into Armenian folk and sacred music. Shortly after he was ordained vardapet (celibate priest) and adopted the name Komitas, he traveled to Berlin in 1896, enrolled in the private conservatory of Richard Schmidt, and studied aesthetics at the Friedrich-Wilhelm University.
After his return to Etchmiadzin in 1899, he spent the next 11 years in field work throughout the Empire, collecting and transcribing Armenian. Kurdish and Turkish folk songs and dance tunes and investigating the Armenian khaz (neumalic) music system of the eleventh century. The field work formed the basis of Komitas' musical output and activities as a choral conductor, lecturer, and writer. He continued these activities after he moved to Constantinople in 1910. He trained and conducted the 300-member Gusan Choir, performed as a soloist…
The quartet settings of Komitas' folk songs by Sarkis Aslamazian are the earliest and perhaps most significant of these efforts. A cellist, composer, teacher and founding member of the Komitas Quartet, Aslamazian was born in 1896 in Mozdok, Russia, where he received his early musical education from his father. He later enrolled at the Moscow Conservatory where he later taught cello and string quartet literature for more than fourty years. In 1925. while still a student at the Moscow Conservatory, Aslamazian was one of the founding members of the String Quartet of the Moscow Conservatory, whose members were all students of the Conservatory. It was in those early years in the life of the Quartet that Aslamazian began working on the transciptions.
Despite changes, Aslamazian and Aved Kaprielian (first violin) remained with the Quartet for some fourty years, as the quartet gained wide international and local acclaim, concertizing in major cities throughout the world, including a trip to the U.S. in the early 1960s. In 1931. the Quartet became the official quartet of Soviet Armenia.
Upon the death of Komitas and the burial of his remains in Armenia in 1936, the Quartet was named the Komitas String Quartet. In the late 1960s, with the departure of Aslamazian from the group and the death of Rouben Talalian (viola), the Quartet was handed over to a younger generation of performers in Yerevan, Armenia. Aslamazian himself died in Moscow in 1978.
Aslamazian's settings of Komitas' folk songs reveal the dual talents of an instrumentalist and composer. They bring to mind Ravel's orchestral transcription of Mussorgsky's Pictures at an Exhibition (1932) and Reinhardt Febel's Variations for Symphony Orchestra (1980). Both works explore and display the timbral possibilities of the source material for Ravel, Mussorgsky's piano work and for Febel. Komitas' folk song Kroung. Aslamazian's settings, though, are more intimate and aim to create an authenticity of the folk instruments - the duduk, zourna, tar, dhol, even kemancha. Aslamazian's approach is also different from Bela Bartok's treatment of folk materials, especially in his six string quartets. Bartok, like Komitas, was a tireless researcher who traveled across the Balkans and Ottoman Empire documenting folk materials. In his compositions, Bartok personalizes and stylizes folk materials, while Aslamazian, following Komitas' own practice, remains within the melodic structure of the folk song, displaying the folk idiom in the characteristic transparency of the string quartet...”
Conductor: Sarkis Aslamazian
Performer:
Charles Sewart - violin
Philip De Groole - violoncello
Levon Chilingirian - violin
Asdis Valdimarsdotti – viola
Track Listings:
1. Habrban (1:27)
2. Keler-Tsoler (2:33)
3. Garoun A (2:44)
4. Kagavik (1:35)
5. Shogher Djan (4:28)
6. Chinar Es (3:26)
7. Hoy Nazan (2:29)
8. Kroung (2:38)
9. Al Ayloughs (2:29)
10. Shoushiki (2:49)
11. Khoumar (1:34)
12. Etchmiadzni Par (2:21)
13. Kele-Kele (1:48)
14. Yerkingn Ampel A (2:26)
15. Alagyaz (3:58)
16. Noupar-Noupar (1:59)
17. Dzirani Dzar (4:54)

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