the project

The medieval songs of Armenia had their roots in both the sacred music of the Armenian Church and in the ancient bardic traditions of the Caucasus region. While some of this music is still presented in its original state, many older Armenian works exist today because of the tireless work of the turn–of–the–century composer and musicologist known as Komitas. The Music of Armenia, Volume Two: Sharakan spans fifteen centuries of Armenian music, and Komitas' presence can be deeply felt in some of the arrangements. In many of these songs, though, conductor Daniel Erazhisht has wedded the exotic, often melancholy lyricism of the Near East to the classical purity of a European chamber ensemble, consisting of string quartet, voice, and flute. As a result, the sound is immediately accessible to Western listeners, even as the melodies capture the ear with their surprising arabesques.

Several instrumental tracks featuring the traditional Armenian lute, or tar, are also included; but perhaps the most striking song in the collection is an almost cantorial work for voice and piano; Horzham, from the Divine Liturgy of Komitas' teacher Makar Yekmalian, suggests the common roots of early Jewish, Eastern Christian, and Islamic singing.

The Music of Armenia is a six volume set; this second volume, though, may be the one that most directly communicates the tragedy, the resilience and the faith of the Armenian people.

the artists

Several guest musicians join the Sharakan Early Music Ensemble on this recording; most notable among them is soprano Anna Mailian, who is considered the finest classical and operatic singer in Armenia today. She is in demand at major opera houses throughout Europe; her voice is heard on seven songs in this collection. Also appearing are Hovhannes Darbinian, a leading performer on the traditional Armenian tar, Ara Avanian, vocalist on the song Horzham; and classical pianist Margarit Sarkissian.

tracklist