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Komitas, Piano and Chamber Music - Mikael Ayrapetyan pf, Vladimir Sergeev vn Grand Piano 720, 2017 (1 CD: 70 minutes)

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Mikael Ayrapetyan pf, Vladimir Sergeev vn Grand Piano 720, 2017 (1 CD: 70 minutes)

Published online by Cambridge University Press:  30 May 2019

Knar Abrahamyan
Knar Abrahamyan*
Affiliation:
Yale Universityknar.abrahamyan@yale.edu
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Abstract

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Type
CD Reviews
Information
Nineteenth-Century Music Review , Volume 17 , Issue 2 , August 2020 , pp. 301 - 304
Copyright
Copyright © Cambridge University Press 2019

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References

1 Holslag, Anthonie, The Transgressional Consequences of the Armenian Genocide: Near the Foot of Mount Ararat (Cham: Springer International, 2018), 188Google Scholar.

2 Eddie Arnavoudian, ‘The Salvaging of an Authentic Armenian Musical Tradition’, 21 April 2003, on Armenian News Network / Groong, http://groong.usc.edu/tcc/tcc-20030421.html (accessed 16 April 2019).

3 Arnavoudian, ‘The Salvaging of an Authentic Armenian Musical Tradition’.

4 Holslag, The Transgressional Consequences, 190.

5 Poladian, Sirvart, “Komitas Vardapet and His Contribution to Ethnomusicology: Komitas the Pioneer”, Ethnomusicology 16/1 (1972): 84CrossRefGoogle Scholar.

6 According to the CD liner notes, the Seven Folk Dances were written and performed in Paris in 1916. Yet 1916 is a highly unlikely date for this composition, as many scholars identify 1915 as the year after which Komitas ‘never picked up a pen again’ (Holslag, Transgressional Consequences, 189). The cycle most likely dates to 1906, when Komitas travelled to Pairs to give concerts and lectures.