Choirmaster -  Arshak GADZIYAN
Sponsor of the chorus -  Alexander ALAVERDYAN
Sound producers -  Yury Sherzhukov, George Karetnikov
Editing, recording engineer -  Alexander Kossov
Author of the text  - Irina Medvedeva
Computer design - Tamara Smakova

Made by the Moscow Armenian Chamber Chorus of
the State Armenian Philharmonic in collaboration with
the Glinka State Central Museum of Musical Culture

1.  V. Kalinnikov. Words by А. Pushkin. “Elegy”  - 2.1О
2.  S. Taneyev. Words by F. Tyutchev. "Аlpi, ор.15 - 4.45
3.  S. Таnеуеv. Words by J. Polonsky. "Razvalinu bashni, zhilische orla", ор. 27 - 5.29
4.  S. Taneyev. Words by А. Fet. “Sеrеnаdа”, (1877) - 2.12
5.  S. Taneyev. Words by F. Tyutchev. "Voskhod solntsa", ор. 8 - 4.09
6.  S. Taneyev. Words by bL Lermontov. "Sosna", (1877) - 2.12
7.  N. Rimsky-Korsakov. Variations on Russian folksong "Tatarskiy ро)оп", ор. 18 - 4.28
8.  Р. Tchaikovsky. Words by Р. Tchaikovsky. "Solovushko" (1889). The soloist - L. Oustinova - 4.34
9.  А. Arensky. Words by А. Pushkin. "Anchar", oр. 14 - 6.51
10.А. Grechaninov. Words by А. Tolstoy. "Nad nepristupnoy krutiznoyu', ор. 4 - 4.36
11. Р. Tchesnokov. Words by К. Grebensky. “Теplitsya zоr'ka” , ор. 28 - 3.52
12. "Nichto v polyushke ne kolyushitsya", Russian folk song adapted by I. Ponomarkov  - 2.37
13. "Hodila mladyoshenka', Russian folk song adapted by Р. Tchesnokov. The soloist — V. Isауеvа - 2.40
14.  “Povyan', povyan', bur'-pogodushka”, Russian folk song adapted by V. Sokolov. The soloist —
L. Oustinova - 5.07
15. "U tyomnom lease", Russian folk song adapted by А. Sveshnikov  - 2.09

It is twelve years since an absolutely exceptional ensemble the Moscow Armenian Chamber Chorus, created by the Аrmenian Union of Соmposers and presently associated with the Аrmenian State Philharmonic — has been working in Russia under the direction of Nelli Andriassyan. The chief distinguishing feature of the chorus is its adherence to and an organic combination of both Russian and Armenian cultures. The ensemble's creative work confirms the aspiration to spiritual unity of the peoples of Russia and Armenia, the irreversibility of their merging and mutual influence in the process оf formation of the modern epoch of both national cultures. This defined the singularity оГне ensemble's artistic manner, professional style, chorus singers and its repertoire.

The ensemble's extensive repertoire comprises the following music: Armenian sacred music of the IV — XXth centuries (М. Mashtots, S. Sunetsy, Komitas, М. Ekmalyan, О. Narekatsy, А. Gadziyan), classical, folk and modern music (adaptations оЛоПс songs by Komitas, Т.Altunyan, 1. Andriassyan, Y. Arutyunyan), Russian sacred music (S. Degtyarev, D. Bortnyansky, М. Berezovsky, М. Glinka, P. Tchaikovsky, S. Rachmaninov), secular classical and folk music (S. Taneyev, М. Mussorgsky, P. Tchaikovsky, P. Tchesnokov, А. Gretchaninov), West Еurореаn sacred and classical music (J.S. Васh, Н. Schutz, W.А. Mozart, Н. Purcell, G. Verdi, C.-F. Gounod).

The chorus regularly gives concerts, has repeatedly held charitable concerts in the earthquake zone in Аrmeniа, in the Byelorussian areas stricken by Chernobyl accident, took part in various festivals of sacred and secular music. The chorus has been on tour in Sweden, Syria, Lebanon, Slovakia and Cyprus, took part in nine international festivals, two of which had been organized at the ensemble's initiative and with its direct participation. The Моscow Armenian Chamber Chorus was the first in Russia to perform and make а CD recording оf thе complete text of the Liturgy (Patarag) by Komitas, Armenian early Christian and medieval sacred songs of the IV — XIIth centuries as well as а string оf works by modern Аrmenian and Russian composers.

The ensemble's artistic director, Nelli Andriassyan, follows the naditions of the Russian academic choral performance set by А. Sveshnikov, V. Stepanov, А. Yurlov. She created the State Ural Chamber Chorus (Perm'), the Tula State University Chorus, the choruschoirma ster shop in Moscow. Many of her students became prominent performers and musical art workers of Russia and оther countries.

Excellent taste and а sense of measure, unbending will, tremendous efficiency as well as high professional skills of the conductor impart to the chorus that unique style of performance which fascinates listeners. From the very first moment when the conductor begins building her temple of sound, creating а sound theatre — that is precisely how the art оf Nelli Andriassyan is perceived — listeners become plunged, as it were, into the state of mind that has fallen into oblivion or has been virtually lost. It is hard to gauge where the mesmerizing quality оf the sound lurks — in the silky cantilena or dashing dance whirl. When we become involved into the sound field created by the chorus we instantly get а feeling of а curtain of knowIеdgе being slightly lifted and acquire for а while the ability to touch the intangible, to fathom the unfathomable, to comprehend the enigmas. The colour and flesh of the sound (when it is а sign, symbol, meaning, word, tears, pain, grief, elation) соте from the content and very core of music, the sound itself weaves а web of Itfе. Неге slow moventment and brooding, beauty and grandeur of quiet harmony are of high value. The music carries listeners to the world of wоrshipped relics, helps them to pause, to listen, to muse, to recall the precepts оГразг generations and look deep into the ages. 

Having selected the only possible area of artistic activity for her whole lifetime work with the chamber chorus, — Nelli Andriassyan spells out: "The chamber chorus is an асmе of the performing art. So flexible а cast allows us to reveal in the best possible way the character of а piece of music, the particularities оf its composition, melody, harmony, polyphony, enables the conductor to realize his intention, bestows on them the possibility to continue the creative work on the composition even at the concert".

The chorus has made three CD recordings: "1500 years history оГАгтешап sacred music", "Russian sacred music". Iп collaboration with the Glinka State Central Museum оf Мusical Culture — the CD "Patarag" (Liturgy) by Komitas. The fourth CD is devoted to Russian classical music for а cappella choir. Nelli Andriassyan is not fond of studio recordings very much, she prefers concert performances. "On the stage I paint music. I hover above the sound, as it were, and I paint". For that reason, fragments of concert performances in the Museum of Musical Culture in 1999 form а significant part of hе fourth CD.

Although, in the words of the choral director, the programme сате into being sort of accidentally, it is, apparently, far from being haphazard. "We have fixed on these compositions because they are masterpieces and they merely had to be performed". Thus, the mosaic, of separate pieces of music has developed into а certain historical narration. The compositions, being performed precisely in the given sequence, represent like numerous miniature scenes forming а single icon show the life of а saint — а centuries-old life of Russia with her vast tracts of land, skies, woods, with her sorrows, troubles, bereavements; with her tenderness, caress, beauty and hopes. "You know, I undergo startling metamorphoses, — says Nelli Andriassyan. — When I perform Armenian music, I think and sing like an Armenian, and when 1 perform Russian music, I do not doubt а whit that I am Russian".

The CD carries а modest title "Russian classical choral miniature а cappella". However, such songs as "Nad nepristupnoy krutiznoyu" ("Аbove the forbidding ascent"), "Razvalinu bashni" ("Тhе tower's ruins"), "Anchar" could be rather compared to symphonic canvases. The disk comprises works of outstanding Russian composers: Р. Tchaikovsky, N. Rimsky-Korsakov, S. Taneyev, А. Grechaninov, А. Arensky, Vic. Kalinnikov, Р. Tchesnokov; folk music adapted by fine masters оГсЬога1 art Р. Tchesnokov, А. Sveshnikov, V. Sokolov, А. Ponomar'kov.

In а sequence оf соmроsitions that make up а narration, like in the history of Russia, there is а nambег of sad pages. The melancholy mood of the "Elegy", which at some moments revives happy recollections ("I remember your rising, oh fairy-sun, above the peaceful country, where every corner is so dear to ту heart"), is followed by а picture of snowy whirl, blizzard, fog and а delicate dawn in "Аlрi"  ("Тhе Alps"). The chorus "Razvalinu bashni, zhilische orla" ("Тhе tower's ruins where the eagle dwells") speaks about the glorious past. The peaceful music of а dreamy lullaby — in "Serenada" ("Serenade") or in "Sosna" ("Pine") casts а quivering slumber mood, creating an image of an enchanted Russia. А fairy landscape of "Voskhod solntsa" ("Sunrise") draws а picture of а growing dawn that breaks through а predawn fog. It would веет as though the theme of the enemy's invasion and of а years-old yoke in Russia сате through а daily family episode (а Tartar warrior took captive а woman who turns out to be the mother ойив wife and the grandmother to his son), but from this effect the composition "Tatarskiy polon" becomes по less impressive. А sad tone of narration of the chorus "Solovushko" ("The nightingale"), the theme of bidding а farewell to the motherland does not make listeners, nevertheless, feel solely grief and sorrow, as the protagonist promises: "I will return to you with а пеw song". The boundless power of а ruthless tyrant — an invincible lord, violence, war that brings death to people - that is the theme of the chorus "Anchar". Two different worlds соте out in the chorus "Nad nepristupnoy krutiznoyu" ("Аbоvе the forbidding ascent") — cold, grim and unfriendly, on the one hand, and tender, bright and warm, on the other. This latter world arouses а hope for better moments in life. The chorus "Teplitsya zor'ka" (" А delicate dawn flickers") creates music that abounds in аromа of tart jingles of the night. When listening to it, you are carried to the fairy bottomless lake, as it were, you see уоurself fbeing nехt tо the artist who draws an incredibly beautiful silence.

And finally the crown of the folk songs, that таус circle that encompasses all the compositions of the programme. "Nichto v polyushke ne kolyshitsya" ( 'Nothing trembles in the field"), "Hodila mladyoshenkа"  ("А young woman walked"), "Povyan', povyan' bur'-pogodushka" ("Gо down, go down, the storm"), "V tyomnom lesse" ("In the dark woods") — these songs speak about а very familiar world that surrounds us, so familiar that we cease to notice and appreciate it. But it is precisely this inconspicuous humble world of nature that constitutes the essence of existence of the people, country and land. This world allows us to survive in the hardest times, to preserve the genetic memory of mankind, to restore what has been irrevocably lost.

Secular choral music а cappella did not occupy the main place in the creative work of P. Tchaikovsky. Some ofhis compositions were made to order, as it were, in particular, at the request of the founder of the Free choral class in Saint-Petersburg, а singer of the Mariinsky theatre, Ivan Mel'nikov (1832-1906), performer of the operatic areas in the works by Tchaikovsky, Dargomtzhskу, Rimsky-Korsakov, or of his associate, who was likewise а singer of the above-mentioned theatre, conductor Fyodor Becker (1851-1901). On January 8, 1889 Becker asked Tchaikovsky to write secular music for the Saint-Petersburg Chorus of hе Emperor's opera where he used to conduct concerts. P. Tchaikovsky honoured the request very quickly. Within four days he wrote the words (which was of гаге occurrence in Tchaikovsky's creative work) and music alike, having devoted "Solovushko" to the chorus of the Emperor's opera. As early as on January 12, 1889 he transmitted the manuscript to his editor P. Jurgenson, and soon reminded that the score should be sent to Becker for studying.

For the first time "Solovushko" was performed at а secular concert by the chorus of the Emperor's opera under the direction of Becker in the music hall of the Noble Assembly in Saint-Petersburg on March 19, 1889. In December, 1889 on New Year' s Еvе the editor received the censor's approval to publish the chorus, and Yurgenson's printing yard in Мозсоъ published the first edition of the chorus "Solovushko". In Moscow the chorus was performed at а concert of the Russian Choral Society under the direction of А. Arensky on December 13'", 1892.

On the 5th page there is the cover of the first edition of the chorus by P. Tchaikovsky "Solovushko". Moscow.P. Jurgenson, 1889.

The repertoire of the chorus of the Emperor's opera under the direction of Fyodor Becker included compositions written by Tchaikovsky. Therefore, many times Tchaikovsky а аа invited by Mel'nikov and Becker to the rehearsals and concerts оf the chorus. Several years later the chorus had to accomplish а grievous mission, taking part in the funerals оf thе great Russian composer.

N. Rimsky-Korsakov is the author of гпапу secular choral compositions а cappella а considerable part of which is formed of adaptations of folk songs. The composer took а keen interest in the vocal folk music, he wrote two books of harmonization of folk tunes — "40 folk songs" and "100 Russian folk songs" arranged bу himself.

In the compositions based on Russian folk songs of the 1870s, when he was deeply interested in the polyphonic technique, he attached much significance to imitative polyphony, which can be discerned in the chorus "Tatarskiy polon" (The Tartar captivity). As а melody Rimsky-Korsakov used the theme of the song №8 "Kak za rechkoyu, da za Dar'eyu" ("Асross the river, across the Darya river") [а song about the Tatar captivity] taken from the collection "100 Russian folk songs"; the words were compiled by the author on the basis оf thе three variants given in the collection of Russian folk songs.

The magnitude оf the  form and musical development оf thе composition permit us to speak not so much of hе adaptation оf thе folk air but rather of а composition written on the given tune - as, in fact, the composer himself defines — variations on Russian folk tunes in the Mixolydian mode.

On the 6th page there is the first page of the chorus by Rimsky-Korsakov "Tartarskiy polon" - variations on Russian folksong, ор. 18, № 2, 1876. The chorus "Tatarskiy polon" alongside another one from this opus (the fugue "Before the crucifix" on the words of А. Коl'tsоv also written in the Mixolydian mode) was submitted to the contest of the Petersburg branch of the Russian Music Society, held under the motto "Bless, fellowmen, to sing of old times!". The music by Rimsky-Korsakov was awarded а prize and the choruses were published by V. Bessel in the corpus "Six choruses which received prizes at the contest of the Petersburg Russian Music Society" as ор. 22 (1887). In the same year the editor made а separate publication of the choruses with the indication of their original opus— composition №18.

Irina Medvedeva