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Iosif Andriasov Creative news: preparation to entry of CD " The
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10-thanniversary of the Moscow
Armenian Chamber Chorus
Dedicate to
our frend - Alexander Alaverdyan.
KOMITAS. PATARAG
exekutor
Including: Conductor – Nelli Andriasian
Pargev Grigorian – Tenor I, soloist - №№
1а, 3а, 35а, 20, 21, 23, 25
Viktor Buzlov - Tenor
I, soloist - №№ 12, 14, 23, 25, 30 б
Yuriy Pritin – Tenor I-II,
Arshak Gadzijan – Tenor II,
Viktor Bobrov - baritone, soloist - №№ 2, 7,
9, 10, 12, 14, 16, 17, 25, 26, 30б
Avatitnian Artiom – Baritone, Chramov Valeriy – Bass,
Minassian Edgar – Bass, soloist - №№ 14, 23, 29,
30б
The chorus leader -
Gadzian Arshak
The chorus Sponsor -
Aleksandr Alaverdian
Recording engineers - George Karetnikov, Dmitri Misailov
1.
№1a Horurd
Horin
- 0'00 - 3’16;
2. № 1b Horurd
Horin
-
3’17 – 5’07;
3.
№ ‘Entriald Astucoy
- 5’09 – 7’38;
4. №
Ays hark n’evirial
-
7’39 - 9’12;
5. №
Barehosutiamb Mor Ko
- 9’12 – 11’41;
6. №
Me’cacusce andzn im
- 11’44 - 12’55;
7. №
Surb Astuac
- 12’59 - 13’47;
8. № 7
hishea Ter ev vo’gormia
- 13’47 - 15’06;
9. № 9,10
‘Park Kez Ter, Shnoria Ter
- 15’07- 15'50
10. № 11
Marmin
Terunakan
- 16’51 - 18’39;
11. № 35а
hreshtakain
-
18’40 - 20’38;
12. № 35б
hazarac hreshtakapetk
- 20’39 - 21’26;
13. № 12
Ter vo’gormia
- 21’26 - 22’44;
14. № 13
‘Kristos i mech mer
- 22’44 - 23’50;
15. № 14
Ahiv kaccuk
- 23’51 - 28’01;
16. № 15
Surb,
Surb
- 28’01 - 30’11;
17. № 16,17 hAyr
erknavor, Amenayni orniales - 30’12 - 31’44;
18. № 19
hOgi Astucoy
- 31’43
- 33’06;
19. № 20
hishea Ter
- 33’07 - 33’40;
20. № 21
Ter vo’gormia
-
33’41 - 34’30;
21. № 22
hAyr mer
- 34’31 - 35’37;
22. № 23
Miayn Surb
- 35’38 - 37’19;
23. № 24
hAyr Surb
- 37’21 - 39’02;
24. № 25
Ter vo’gormia
- 39’04 - 41’45;
25. № 26
Ornial e Astuac
- 41’45 - 45’04;
26. № 27
L’ecak i barutianc
- 45’06 - 46’11;
27. № 29
Keco ‘ez gho’govurds Ko
- 46’13 - 49’36 ;
28. № 30а
Eghici
anun Тiarn
-
49’37 - 50’46 ;
29. № 31б
Or’ti
- 50’48 - 52’09
Komitas is especially known as a collector
of folk art. The adapting of folk songs put him in line with the
world-s foremost classics. He managed to become the creator of the so-called
Komitas style as well as
the founder opener of the new way of thinking in this, at first sight
unpretentious, genre, which had an enormous, fundametal impact on the shaping
of the modern armenian music and contributed to the rise of many phenomena
of the musical culture of the 20th century.
Komitas noticed the originally inherent spiritual categories in the primary
source of the people-s melos. He managed to discern and incarnate these
categories in a seemingly unexpected manner. Komitas did
not create an intonational, harmonic or any other kind of symmetry for
the material he was working on. On the contrary, he places the tissue of
music into an environment of sounds, an environment asymmetric to the original
material, as he simultaneously projects different dimensions.
Every work of Komitas in this sphere has an absolutely independent traject
of disclosure, and, if one can put it this way, an infinite motion in spiritual
spheres (in this sense we are confronted with an extremely interesting
phenomenon of visible, active transformation in time of the spiritual perception
matter of Komitas- music). The main outcome is the emergence of a polydimensional,
open-circuit, semantic space. The seemingly simple earthly beginnings get
an unbelievable, cosmic depth and infinity. It would not be an exaggeration
to state that this experience of Komitas is unique for our civilization.
On its basis, we not only became convinced of the existence of a spiritual
space but got an opportunity of studying it.
Behind this phenomenon many were not able to bestow due attention on
the main and undoubtedly highest achievement of Komitas- creative work:
his Patarag, in which he makes the next brilliant step: Komitas summarizes
the whole spiritual experience of the Armenian Christian culture, which
is as old as the christianity itself. It simultaneously incarnates the completely
different, independent of each other semantic strata, which seventeen centuries
long constitute the life of the Armenian people. It concentrates all the
pain and blood which have been paid by the Armenian people for the light
of the Savior. Everything created by the great ancestors of Komitas became
flesh in Patarag, nothing remained out of it, since Komitas founded it on
the essence of their spiritual achievements, which is why this piece is
characterized by a noble and integral musical style. It also encompasses
an invisible presence of Komitas- apparition of the inevitable Calvary,
to which the Armenian people were brought.
Komitas- Patarag is one of the main results of the spiritual work of
the Armenian people for its multimillenial history, including the pre-Christian
experience.
There is one more feature of the piece: its essence. The presence of
the Divine principle is visible in it, as well as its spiritual action
on us people. Not only our attitude to God is present, but God-s attitude
to us. This is the main difference of Komitas - Patarag from many Liturgies
by various authors, including the greatest ones. I am convinced: this work
of Komitas has not been matched by anyone neither before Komitas, nor after
his death. Komitas made the world of God-s Cosmos an absolute and unquestionable
reality which is not experienced rationally or emotionally, but spiritually.
This work of art is the greatest gift of the Armenian people to the world.
May it serve for salvation of all the deceased and the living!