the project
After two volumes of vocal music drawn largely from
the sacred/classical tradition, The Music of Armenia, Volume Three
may seem like a complete departure. This is after all, a collection
devoted to traditional/folk music for the wind instrument known as
duduk. But as is so often the case with Armenian music, there
are longstanding connections between these apparently distinct
styles. Not only are the traditions of Armenian classical and folk
music intertwined, with their common roots in ancient bardic and epic
songs, but some songs from the medieval sacred repertoire have recently
made their way into the duduk players' arsenal as well, like
Vasn mero perkutian (track 15), in part due to the playing
of Gevorg Dabagian. And the duduk's soft, reedy sound has an
almost vocal quality that makes it nearly as songful and soulful as
the voices heard in the first two volumes.
Of all the instruments played in Armenia, the duduk
is perhaps the most truly Armenian. Other traditional instruments
can all be traced back to ancestoral instruments from the Arabic world,
but the duduk appears to be specific to Armenia. Small wonder,
then, that many Armenians consider the duduk to be the instrument
that most eloquently expresses the warmth, the joy, and the tragedy
of Armenia.
Many of these pieces are simply instrumental transcriptions
of what were originally vocal works. Others are old melodies that
have come to be associated with the duduk; if they had words
originally, they have long been lost. And some of the pieces come
from one of Armenia's most unusual sources of music: the troubadour/poets
known as ashugh.
the artists
Gevorg Dabagian is among the most important duduk
players in Armenia today. Not only a great virtuoso player, he is
also one of the first to perform excerpts from the Divine Liturgy
of the Armenian church on the duduk, a doublereed wind
instrument developed nearly 1,500 years ago. Its signature tone is
plagent, mournful, and slightly nasal, but it is also capable of tender
lyricism and genuine, if somewhat subdued energy. Dabagian is especially
famous for his interpretations of the works of Sayat Nova, and his
performances of traditional Armenian folk music are considered by
purists to be free of foreign influence. He studied at the Yerevan
State Conservatory, where he now teaches; in addition, he is the leader
of the Shoghaken Folk Ensemble.
Gevorg Dabagian is the soloist, but the duduk
is never played alone. A second duduk (or even a small group
of duduk players) will always accompany the lead player with
a drone, creating a musical environment for the lead duduk's
melody. The duduk dam, or drone accompaniment, is provided
by Girgor Takushian and Eduard Harutunian. Kamo Khachaturian, one
of Armenia's most soughtafter percussionists, plays the dhol
two-headed drum.
tracklist
1 |
Hovern enkan (A cool breeze is blowing.) |
4'35" |
2 |
Amen aravot (Every morning.) |
3'41" |
3 |
Akh im champen (Ah, my road.) |
3'42" |
4 |
Es gisher, lusnak gisher (Tonight the moon is
full.) |
3'36" |
5 |
Kali yerg (Harvest song.) |
5'36" |
6 |
Kamantcha |
3'01" |
7 |
Kezanits mas chunem (I miss you.) |
4'54" |
8 |
Dle yaman |
4'16" |
9 |
Tui tui |
2'40" |
10 |
Yes mi tsar em tsirani & tsirani bar mi tar
(The apricot tree medley.) |
4'36" |
11 |
Vorskan akhper (Brother hunter.) |
4'55" |
12 |
Ashkhares mi panjara ye (The world is a window.) |
2'59" |
13 |
Tsarere tsahgum en (The trees are
in bloom.) |
4'20" |
14 |
Pailun arusiak (Shining Arusiak.) |
3'00" |
15 |
Vasn mero perkutian (For us to be saved.) |
2'31" |
16 |
Chachaneh tsaghadzoreh |
2'50" |
17 |
Me khosk unim (I have a word for you.) |
4'24" |
18 |
Alashkerti cochari |
3'53" |
|
Total Time: |
71'35" |