History of  foundation

The history of foundation of the professional Armenian chamber chorus in Moscow has own sources. 

Two deep, but not connected with each other problems needed a solution. The first - dramatically combined destiny of the talented conductor – Nelli Andriasian (her creative biography is in the section "Creative portrait of Nelli Andriasian – the founder of the chorus "). The second - almost full fading of national culture in the armenian community of Russia. 

In both cases the supporters of creativity N.Andriasian and the supporters of revival of tradition of the Armenian national culture had most resolute adjust and were going to pass any tests, but to find a proper solution. 

The liberalization of public life in USSR became the basis for the development of new principles of mutual relations between the state and interests of separate groups of the citizens or individuals. The authority tried to construct relations with the people by means of the constructive dialogue. And this rather positive factor has become the basis for legal discussion of many problems. In comparison with Armenian communities in european countries, both American continents or Asia the russian armenians were almost indifferent to preservation of own national culture (except a groupe compactly living in the south of Russia). That’s ever the Armenians of Russia were among national minority with a highest rate of ethnic assimilation. 

The strongest impulse of national-liberational struggle of Arzach (Karabach) gave a serious growth of the national self-consciousness of Armenian community of Russia. A gradually vanishing and dissolving without leaving a trace among millions, these "particles" of the Armenian people suddenly "discovered", that can not be indifferent to the destiny of Armenia and can not continue "dream of reason", without through realized refusal of the national identity. Really there was an Armenian national life and national medium. The processes of its structuring began. 

But soon it became clear by what level the ambitions of national minority will be limited. However, for national culture was open a free and not specially limited path of preservation and development. As a result of "stratification" of all circumstances in the Moscow Armenian medium among the others an idea of creation of a professional national art collective of a highest level appeared. That was justified also by highest level of traditions of the Armenian national culture in Russia, which was finally "strangled" in 1953. 

This tradition gives us unprecedent examples, when a small, continuously subjected to genocyde people, creates by the forces outside a native Land high institutes of national culture and generously and unselfishly presents them to the world. Let's introduce only three, completely different, examples. 

The Institute of Oriental Languages – Lazarian Tchemaran (1807), afterwards Institute of Asia and Africa - one of from main institutes of imperial Russia and Soviet Union on preparation of diplomatic frames (Africa-Asian direction), the state quartet by Komitas. It was in the structure of "Armconcert", though the place of its constant determination was Moscow. 

The quartet by Komitas is one of most famous collectives of the XX century, who had presented to the world culture a fundamental investment. Being created by professors of the Moscow State conservatory by Tchajkovski (in 1924), talented musicians, each of which was the unique creative phenomenon, this collective combined maximum achievements of european and Armenian musical culture. They create a non comparable, higly delicated style, emotional, bright and extremely indicative, which was conducted by faultless taste and deep understanding of spiritual creating and style of executed music.

The House of Culture of Armenia. Is created by the special decree right at the beginning of the Soviet authority and till its liquidation was not only a center of the Armenian culture of national importance, but also the most powerful cultural bridge between Armenia and Russia and all peoples of the USSR. In the House of Culture of Armenia under the direction of the issued figures of culture practically of all areas of arts who lived in Moscow, the talented youths from Armenia passed creative training. Concerts and art exhibitions always took place there. Through this House the intelligency of Armenia and Russia could extend hands to each other, could conduct the incessant spiritual dialogue. 

The indicated examples, it seemed, are enough (their absolute number is much greater) to understand how important thing was to manage to continue the interrupted tradition up to a proper level. For this reason the experience of foreign community with its magnificently blossomed amateur performance categorically was not suitable. Any professional art collective, as known forms under "of the Main actor". Without "title" of talent – the leader of the given creative idea, it will fail even the general structure will be good. And it is not enough to have a simply talented musician, he would be a brilliant, high-powered creative person, absolutely and completely devoted to serve to music till his last days. 

Just as such a leader was seen Nelli Andriasian by the figures of culture of the Soviet Union. Only her talent had such power. All know that it is impossible to repeat the same masterpiece. It is much easier to create new. But it is much more difficult to revive spiritual life in a place, where it was destroyed. If there are such examples in the history, probably they are very seldome. Usually, centuries will pass, to be replaced many generations, while "whirlpool" will be covered and under legs of the creator again there will be a solid soil. The nature, nevertheless, does not tolerant a hollow. And if there is a space, it will be necessary filled in. 

During their history the Armenians learned this lesson very well. And Nelli Andriasian is not from "the time of the small people", with whom our epoch is proud of. By February, 1989 by a number of Armenian national public organizations of Russia was delivered a problem to Union of the composers of Armenia, State Philarmonic Society of Armenia and Ministry of culture of Armenia, Board of Union of the composers USSR, Ministry of Culture USSR, Moscow Comettee of Comunist Party about establishment in Moscow under the management of Nelli Andriasian of professional Armenian chamber chorus. 

After the conclusion Joint Art commission of the State philarmonic society of Armenia and Union of the composers of Armenia (the Chairman of the commission – Alexander Harutiunjan) produced a final solution. The founder of the new collective would be the Union of the composers of Armenia and the chorus would become its executing department in Moscow.The ministry of Culture of Armenia, Union of the composers of Armenia and State philarmonic society of Armenia jointly have developed the plan of financial maintenance, though the main share of the responsibility was of Union of the composers of Armenia. 

Edward Mirzoian, who was the Chairman of the Union of composers of Armenia, actually, took this solution on his personal responsibility. The end of the 80th – the USSR is going to be disintegrated, the war in Arzach is going on, 1988 – the earthquake in northern Armenia... The process of curtailing of the cultural programs and reduction of budget financing of all areas of culture began. In these conditions, against to all logic the collective was established.

Truly, it was born in storm! The bravery forces to recede hurricanes and to fall the walls. The chorus did its first steps. They were not remained unnoticed. The Supreme Patriarch of Armenian Apostolic Church Katholikos of all armenians Vazgen I invitaded the chorus to his residency in Sacred Echmiadzin during the first performances in Armenia. After the concert he blessed all the initiators, founders and first participants. He gave a high estimate to the idea and creative concept of the chorus, its artistic and professional level, to the amazing talent of Nelli Andriasian who has taken a maximum rod of original and deep spiritual art. 

"I especially thank the Russian musicians working in this chorus, as they participate in business which has national significance for our people". With these words Katholikos finished his speech. And as Supreme Spiritual Patriarch of the Armenian people and as the supreme national statesman on that moment Katholikos finally and forever solved the fortune of the chorus: to chorus must be.