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Acknowledgments Producers: Artur Avanesov (Hommage à G.K.; Sonata for Two Violins; Zemestani, Bahari, Behesthi); Varty Manouelian (Signs, Games, and Messages; Lamento) Engineers: Ruben Osipov (all works except Zemestani, Bahari, Beheshti); Hovig Nassanian (Zemestani, Bahari, Beheshti) Editing: Ruben Osipov (all works except Zemestani, Bahari, Beheshti); Sergei Gasparyan (Zemestani, Bahari, Beheshti) Photo Credits: Recorded at Komitas Chamber Photograph of cover and back Music Hall, Yerevan, Armenia, cover image: Katherine Vincent, July 8-9, 2010 (all works except Photograph with György Kurtág: Page Six Art: “The Fest of Dreams,” Zemestani, Bahari, Beheshti); Tony Arnold, Photograph of by Kapo (Karen Davtyan) (1962- Shoe Factory, Nikosia, Cyprus, Movses Pogossian: Mark Silber, 2011) (Oil on canvas, from the December 15, 2010 (Zemestani, Photograph of page six image: collection of M. Pogossian and Bahari, Beheshti) Edward Poghosyan V. Manouelian) CD Mastering: Daniel Sedgwick Cover Art: “Forest,” by Georgi Publishers Text Editing: Marjorie Gere Tovmasyan (1936-2011) (Oil on canvas, from the collection of Kurtág (Editio Musica Budapest); Translations: Vatsche Barsoumian Mansurian and Avanesov are M. Pogossian and V. Manouelian) MusicIn for Violin by KurtágNomine | Mansurian | Avanesov | Prokofiev available direct from the composer; www.albanyrecords.com Prokofiev (Boosey & Hawkes) Movses Pogossian, violin Varty Manouelian, violin | Artur Avanesov, piano troy1301 albany records u.s. 915 broadway, albany, ny 12207 tel: 518.436.8814 fax: 518.436.0643 albany records u.k. box 137, kendal, cumbria la8 0xd In Memory of Kapo and tel: 01539 824008 © 2011 albany records made in the usa DDD Georgi Tovmasyan warning: copyright subsists in all recorDings issueD unDer this label. This is a personal project, on several dimensions. In the sweltering heat of July 2010, while visiting Armenia for the first time with the entire family, my wife Varty In Nomine and I spent two long nights recording in the Komitas Chamber Music Hall in the center of Yerevan, the city of my birth, where I lived the first twenty years of my life. In the Komitas Hall, as a student, I spent countless evenings attending memorable concerts, later on performing recitals and concertos (including at the memorials for my dear teachers Levon Zorian and Villi Mokatsian) and then visiting almost every year from America for stimulating—and nerve-wracking— rendezvous with the passionate and opinionated Yerevan audience. The stage feels so much like home that I was almost upset at the new shiny hard wood floor, which finally replaced the original stained, discolored, and hopelessly exhausted carpet! But this was first time that I ever recorded in the Komitas Hall, and it felt deeply logical that it should be music by composers dear to me, with people dear to me. Meeting György Kurtág, working with him on several occasions, and being called by him a member of his extended family is, undoubtedly, one of the most special experiences of my life. For me, he is on the highest pedestal not only as a super-musician, but also as a super-human; a man of penetrating kindness, and unbelievable depth and modesty. Working with him and his wife Márta on the “Kafka Fragments” with soprano Tony Arnold opened the path to so much learning—not only about the piece itself, but also about music in general, and about ourselves. On a very personal note, the relationship of Márta and György Kurtág is one of the most remarkable unions that I have ever seen, a true testament to Love and Friendship. I’ll never forget the image of the two of them dropping to the floor to illustrate the union of two snakes crawling in the of the standouts are the US premiere of the Mansurian Violin Concerto No. 2, dust (while working with them on the spellbinding final movement of the Kafka the world premiere of the String Trio with Kim Kashkashian and Rohan de Saram Fragments). The Kurtág language and his world became increasingly close (written for us), and the intense working session on the Lamento in Tigran’s to me, after performing the monumental Kafka Fragments over thirty times. lovely Yerevan apartment. Just like Kurtág, Tigran is one of the most humble Therefore, practicing the Signs, Games, and Messages was a comfortable return musicians, but when it comes to making his point about his vision of the phrase to that unique world of naked nerves, meticulous detail, and symphonies that and the sound that he has in mind, he can be relentless! It was of great impor- may last under one minute. Working on In Nomine, a comparatively long five- tance to him that the Lamento had a very clear structure: restless and brooding minute masterpiece, I could not stop thinking of a few magical days in Darmstadt anxiousness in the first half, followed by the suddenly resigned philosophical back in 2008, when Kurtág worked with me on the Bartok Solo Sonata; it has monologue of the second half. Realizing Tigran’s vision was difficult at times, but such a direct spiritual connection to the Melodia from the Violin Sonata. There is ultimately very satisfying; it was similar to the process of working on solo Bach. no doubt in me that, in some mysterious way, Kurtág, with his piercing honesty, I hope it is captured in this recording. carries within him the life force of his idol Béla Bartók… Artur Avanesov is the Renaissance man of Armenian music, representing My dear friend Tigran Mansurian, universally acknowledged as the great- the cosmopolitan and post-Soviet “breed” of Armenian musicians: free of dog- est living Armenian composer, also happens to be my neighbor in Glendale, mas and complexes, attuned to the latest trends in world music, but, at the same California, where he spends a few months every year. The uniqueness of our time, deeply respectful and knowledgeable of the roots of Armenian music, and friendship is in its completeness, and in the extreme comfort and admiration that its inter-relations to the traditions of the East. Artur is barely thirty years old, but we feel towards each other. One day we may be enjoying a few cups of excel- his astonishing talent has expressed itself already in so many ways: beautiful lent hot tea that he just brewed (with generous helpings of sugar!), another day compositions, numerous performances of old and new music (he is an incredible he may be playing for me the last few pages of the composition he is currently pianist, as evidenced on this CD), in-depth musicological articles on a variety working on; a few days later we may end up at a concert at Disney Hall, or at of topics, translations (he is fluent in many languages, and has recently com- a pleasant gathering of friends. One thing that stays constant in our frequent pleted the translation of one of P. Boulez’s book into Armenian), organizational conversations is the brilliance, depth, and wisdom that he brings to any topic successes as the co-founder of “Armenia-America: Music Now” Festival, and that we are discussing, from the music of masters to politics, literature, art, film, much more. But, above all, Artur is a dear friend to my entire family; the children religion, history… From the many musical highlights of our collaborations some adore him, and Varty and I can spend hours with him working diligently on the sunflower seeds and talking about everything from the banal to the sublime. time. The highlight of the trip was a visit with two artists: my 49-year old cousin Getting to know Artur during the past few years has been most inspiring and Kapo (Karen Davtyan), a man of soft smile, huge heart, and unbridled fantasy, rewarding, and I am looking forward to many more years of friendship and joint and his father-in-law, distinguished Armenian painter, and a true Master, Georgi projects together. The two of his beautiful pieces, presented on this CD, show Tovmasyan. We came away with a few of their beautiful paintings, which now in the nutshell the great diversity of his writing style - from the laconic, angular, grace our home, and which are reproduced on this CD. and tightly organized language of the “Hommage a G.K.”, to the free-flowing, Three months ago, tragically, within two days of each other, their lives gestural, and very East-oriented soundscape of the “Zemestani…”. I think the ended. This CD is dedicated to their memory. They stay with us, in our hearts, world of this piece. After several performances in various countries, I can testify and through their beautiful art. to the universal enthusiasm and goodwill that the piece generates in all sorts —Movses Pogossian, July 5, 2011 of audiences, and to that special silence that accompanies its magical ending. Thank you, dear Artur, for your beautiful music, and for your friendship… The Prokofiev Sonata for Two Violins is on this CD because of Varty. She is my wife, best friend, mother of our three children, and also my most favorite chamber music partner. It may sound like a cliché, but we no longer need to dis- cuss things when playing music together. As a violinist, I have learned so much from her—charmed and mesmerized by her bewildering and natural artistry. I am also a better person and musician now, in large part due to the great combina- tion of love, support, and brutal honesty that she’s given me during our 20 years together! Soon after the recording in Yerevan, Varty and I left with the children for a short vacation in the mountainous composers’ retreat in Dilijan. From there, we visited my numerous relatives in Vanadzor, many of whom were meeting our children for the first time.

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