modulation necklace

New Music from ARTUR AVANESOV (b. 1980) ASHOT KARTALYAN (b. 1985) 1] Quasi Harena Maris (2016)* 12:19 Suite for Saxophone and Percussion (2015)* Movses Pogossian & Ji Eun Hwang, violins 7] 1. Vivace 2:26 Morgan O’Shaughnessey, viola 8] 2. Allegro moderato 1:45 Niall Ferguson, cello 9] 3. Allegro animato 3:16 Artur Avanesov, piano 10] 4. Andante moderato 4:03 11] 5. Presto 2:31 ASHOT ZOHRABYAN (b. 1945) Katisse Buckingham, saxophone 2] Novelette (2010)* 14:49 Dustin Donahue, percussion Varty Manouelian, violin Scott St. John, viola ARTUR AVANESOV (b. 1980) Antonio Lysy, cello Selected works from cycle Feux Follets (2010-17) Artur Avanesov, piano 12] 1. Let It Be Forgotten 0:57 13] 2. Quand l’aubespine fleurit 2:36 MICHEL PETROSSIAN (b. 1973) 14] 3. Modulation Necklace 1:18 3] A Fiery Flame, a Flaming Fire (2017)* 11:17 15] 4. Exercise in Necklace Mode 1:43 Varty Manouelian, violin 16] 5. Mon cœur reste brûlé 1:49 Charles Tyler, cello 17] 6. Gespenstertanz 1:01 Artur Avanesov, piano 18] 7. Kinderstück IV (Ladybug) 1:31 Artur Avanesov, piano ARTASHES KARTALYAN (b. 1961) Tekeyan Triptych (2018)** Total Time 78:40 4] 1. Es Siretsi (I Have Loved) 5:51 5] 2. Papaq (A Wish) 3:05 * Commissioned by the Dilijan Chamber Music Series and the Lark Musical 6] 3. Hashvehardar (A Summary) 6:13 Society UCLA VEM Ensemble ** Commissioned for the UCLA VEM Ensemble by the Tekeyan Cultural Association Danielle Segen, mezzo-soprano Ji Eun Hwang & Aiko Richter, violins Morgan O’Shaughnessey, viola Jason Pegis, cello o d u l at i o n N e c k l ac e is a collage project was their first experience with Armenian music, and, of unabashedly contrasting compositions. by all accounts, a very pleasant one! Its unifying component, of course, is that Artur Avanesov’s presence in this recording as a composer, it represents recently written works by five pianist, and writer is pivotal. His modest biography below Armenian composers, all of them dear friends of mine. The doesn’t even come close to describing the depth and breadth similarities end here -- all of the pieces are so distinctly unique of his gifts and his influence on composition, pedagogy, and thatM rationalizing a storyline for this recording is a thankless musical scholarship in today’s Armenia. I feel fortunate to task. However, I see it as an opportunity to celebrate liberation have been introduced to Artur by Tigran Mansurian 15 years from the dogmas of the not-so-distant past when dozens and ago, and for us to have shared some truly memorable creative dozens of works were virtually indistinguishable from each and human experiences, with many more to come. other, having followed the tired Soviet models. My dear friend and musician of rare insight, Vatsche There is actually one composer who is not presented on Barsoumian has built an oasis of Armenian culture in this CD but deserves to be acknowledged: Tigran Mansurian. Glendale, CA by founding the Lark Musical Society 30 years It was his stubborn courage and absence of fear that first led ago and its offspring, the Dilijan Chamber Music Series, him to explore progressive Western influences in the 60s which commissioned most of the works on this CD. Like (Ligeti, Boulez, etc); then, he had the audacity to turn to the Greek titan Atlas, he shouldered the weight of endless Komitas, the great spiritual father of the Armenian classical responsibilities, financial turbulence, as well as scepticism musical tradition. This process of purification and quest from many in society - all in the service of tirelessly advancing for transparent honesty is picking up steam in the fabric of the riches of Armenian culture and educating the young. contemporary Armenian music, which I think is evident from Vatsche is also “guilty” of being the de-facto godfather of the this colorful recording. Tekeyan Triptych by Artashes Kartalyan. He’s been a crucial There are many things that I love about this project. I love part of the creative process throughout, from choosing witnessing each of these pieces come to life, watching them the Tekeyan poems to working painstakingly with mezzo- grow from the initial phone call to a successful premiere. soprano Danielle Segen of the UCLA VEM Ensemble for I love that, in every single case, it is a labor of love and a her to arrive at an astonishingly authentic level of Armenian testament to a multitude of personal friendships, inspirations, pronunciation. and pedagogical highlights. I love that the performers range Happy listening! from internationally renowned artists to current or recent students. I love that for several of these performers, this – Movses Pogossian

3 ABOUT THE MUSIC

Quasi harena maris (2016) is teetering on the verge between neo-classicist rhythmical and formal clarity, and the dramatic pointillist gestures of his earlier Artur Avanesov (b. 1980) works. Novelette includes a number of recurring motives and The Latin title of this piece (meaning “Like the Sand of the intonations. Perhaps, the most important of these is the interval Sea”) was inspired by the following passage from The Book of of the compound major third, which is also the opening interval Job (Old Testament): “quasi harena maris haec gravior, unde et of Komitas’ Antouni - a historically important Armenian art verba mea dolore sunt plena”: “[O that my grief were thoroughly song. Thus, the modern composer interprets the past through weighed, and my calamity laid in the balances together!] For incorporating it as an integral part of the new composition, yet now it would be heavier than the sand of the sea: therefore my keeping intact the intrinsic emotional meaning of the source - words are swallowed up”. It was conceived as a variation-form that of longing and separation. continuous somber microtonal chorale with string quartet – Artur Avanesov treated as choir repeatedly “chanting” the biblical text, and the piano playing the role of the “protagonist”. The middle section A Fiery Flame, a Flaming Fire (2017) of the piece is based on a distorted rhythmical pattern borrowed from an Albanian pop song. The chorale returns in the last Michel Petrossian (b. 1973) variation, this time heavily ornamented by the improvisation- A fiery flame, a flaming fire revolves around the question like lamentation of the piano part. of identity. This issue seems a crucial one in our globalized – Artur Avanesov and interconnected world. Imagine someone born in the USA with a Russian secular Jewish father and a Zoroastrian Persian Novelette (2010) mother, raised in Paris, converted to Protestantism and working in China…. What is their identity? Which aspects prevail that Ashot Zohrabyan (b. 1945) make them belong to one or another community? Novelette for piano, violin, viola and cello (2009) is among the The identity of people is changing, sometimes radically, most important recent compositions by Ashot Zohrabyan (b. according to the time and space where they are living. This issue 1947). Conceived as a one-movement, yet multi-layered, almost can be explored further considering identity as internalized by sonata-form composition, it symbolizes a notable stylistic shift someone or the identity attributed by others. within the general output of the Armenian composer. The music All this intrigued me for two reasons: first, my own identity is

4 multifaceted (Armenian by birth, Russian by education, French Tekeyan Triptych by culture), second, while commissioning a short piece for a concert held at La Fenice in Venice (Italy), I became haunted Artashes Kartalyan (b. 1961) by a traditional Armenian song --“Kars” -- brought to light The words of Vahan Tekeyan (1875-1945), widely regarded as by the jazzman Tigran Hamasyan. Later the initial short piece the “Prince of Armenian Poetry”, take focus in this remarkable grew into larger form : new ideas came to interact with the first composition by Artashes Kartalyan. Mr. Kartalyan selects three musical seed, fertilizing it in some unanticipated way. works – two love poems followed by a meditation on what is left This change of identity implies an anguish of loss and behind – to which he brings an intricate musicality, promising to allows me to think of the score in terms of a musical drama. make the Tekeyan Triptych one of the composer’s masterpieces. The musicians, like a troupe at a theatre, have to free their Kartalyan’s first choice is a work that describes, with utmost imagination in quest of a lost melody as if browsing through subtlety, the depth of the Poet’s love – surprising for a writer the pages in quest of Marcel Proust’s In Search Of Lost Time. reputed to be a recluse. In the poem, Tekeyan laments that Sometimes there are obvious folkloric reminiscences where the none of the objects of his affection have realized the extent of flowing of notes seems easily guessed. Sometimes this flowing his passion, leaving his love unrequited. Over five stanzas he is discontinuous, and the notes appear in an unexpected expounds on the intensity of his feeling and the sadness in its place and at an unpredictable moment. Smooth rendez- remaining hidden within him. Kartalyan captures the insistence vous of instruments or brusque departures from each other, of that feeling, which permeates the poem, by allowing the viola new harmonic textures or timbral combinations, leitmotifs, an insistent pitch (D) implying the steadfast nature of his love. variations… all of this can be perceived as different facets of a He further develops this by allowing the pitch to usher in the play. ritornello, which time and again repeats (first in the introduction The title “A fiery flame, a flaming fire” refers to the passage of and then between verses) signifying the poet’s ambient and the burning bush in the Bible/Ancient Testament, as translated intense torment. To capture Tekeyan’s concluding thoughts in two ancient manuscripts: the Angel of God appears to Moses for each stanza, Kartalyan allows himself a liberal approach, “in a fiery flame” (Codex Alexandrinus) or “in a flaming fire” employing free and ornamental polyphonic elements to close (Codex Vaticanus). The translations reveal two aspects of the each verse. same reality, showing that even apparently fixed sacred texts are Kartalyan’s second choice is a poem that pines. In it Tekeyan still subject to change. masterfully describes, in four stanzas of three lines each, the Finally, the reference to Moses is my homage to Movses calm but ardent wish “to love another soul as it were one’s own Pogossian who took the initiative of this commission and very private sky.” The text elicits from Kartalyan a beautiful melody, liberally encouraged my musical ideas to grow and bloom. very much in the tradition of Armenian folkloric music. Yet – Michel Petrossian simultaneously he is audaciously brave in his use of modulation and tonal inflection. It imbues the work with qualities not readily

5 imaginable in the typical monodic traditions germane to the Armenian Melos. As such, he is able to capture the intensity of the poet’s wish, emanating from the recesses of his pining soul. Kartalyan’s final choice for the Triptych is a poem which serves as a personal accounting of the gains and losses in the poet’s own life. Here Tekeyan employs the sonnet form, which in Armenian traditions contains two quatrains followed by two tercets. Tekeyan is asking himself what he is left with from his life, when he answers immediately: “only that which I have given away to others.” Revisiting the loves and sympathies he spread to others, in his final assessment he finds himself in the profound solace of having “imbibed the sun.” Kartalyan’s music adds a pensive privacy to the words, in which he imagines the poet reflecting alone at his balance-sheet. Each verse is treated distinctly, forged with individual musical style. Kartalyan ranges from fragmental polyphony (verse 2), to rhythmic importuning (verse 3), and, finally, to a confident resolution marked by a Bach-like walking bass. His opening musical idea is then repeated in summary, bringing this unique textual-musical arithmetic to a kind of final balance. – Vatsche Barsoumian (For the Tekeyan texts, please see pages 8-9)

Suite for Saxophone and Percussion (2015) Ashot Kartalyan (b. 1985) The Suite for Saxophone and Percussion starts with a bang—literally. The first movement makes a dramatic statement with its pairing of the saxophone, the sole melodic instrument, and the aggressive, dominating drums. The action takes a step back in the second movement: a three-voiced fugue with the saxophone and marimba. Both mallet instruments are illustrated in the third movement in dialogue with the saxophone, while the fourth movement explores a more lyrical vibraphone and sax combination. The duet comes to a conclusion with a speedy dance-like final movement. Here, the drums come full-circle, mimicking the sounds of a traditional Armenian dhol under the Armenian modal melodies of the saxophone, which take place not only in the movement but throughout the entire suite. – Ashot Kartalyan Happy conclusion of the Easter egg fight. Composers Artur Avanesov, Ashot Zohrabyan, and Tigran Mansurian, in , Armenia, March 2016

Feux follets (Frenzied Flames) (2010-17) circle starting and ending with the tone B. All modal centers passed through in this miniature return like a muffled echo in Artur Avanesov (b. 1980) the end… This set of piano pieces is a work in progress. So far, there are …and form a whole new mode - the ‘Necklace mode’: B - seven books of Feux follets consisting of about 70 separate C - D - E sharp - F double sharp - G sharp - A sharp - B. This pieces. There is no single unifying idea running throughout the mode (and its inversion) is the sonic material for the next piece cycle, so that the pieces can be freely combined with each other - Exercise in Necklace Mode. to form different ‘bouquets’. Many of the pieces contain hidden Mon cœur reste brûlé (My Heart Is Burnt To Ashes) has a or overt references to the music of the past. strophic construction, like a poem. The last ‘line’ of this ‘poem’ The title Let It Be Forgotten is borrowed from Sara contains a quotation from Armenian folksong “Ah, Maral Jan” Teasdale’s homonymous poem. It is a modest attempt to (hence the title). create unpretentious beauty, short-lived and destined to be Gespenstertanz (Ghost Dance) is a brief, binary-form tribute “forgotten, as a flower is forgotten,/ Forgotten as a fire that once to the harpsichord miniatures of the Baroque composers. was singing gold…”. The ending of the piece quotes Luciano The closing piece of this ‘bouquet’, Kinderstück IV: Ladybug, Berio’s Wasserklavier. was inspired by a work by Armenian visual artist Ani Hovak: a Quand l’aubespine fleurit is based on the modified quotation mixed media image of a ladybug made of canvas, nails, bottle from a medieval French song. The melody is first repeated caps, etc. Likewise, this piece portrays the ladybug with only four times, each time differently harmonized, and then the sixths and fifths, as well as the simple melody of a Russian harmonies repeat again, while the melody is left to freely soar. nursery rhyme: “Ladybug, fly to the skies…” Modulation Necklace is a string of different modal – Artur Avanesov constructions referring to the Armenian . It’s a closed

7 Tekeyan Triptych texts Yes Siretsi (I Loved) I loved, but no one Poetry by Vahan Tekeyan Of those I loved knew Translated from Armenian to English The extent of my love; by Vatsche Barsoumian For who can fathom the heart? Those who inspired My greatest joys, My sharpest pains, alas, Recognize me no more.

My love was perhaps the river That gathered its boisterous force From the snow atop the hill, Yet the hill noticed it not.

My love was perhaps the door Through which no one entered: Concealed with flowers, A secret garden was my love.

And if a few saw my love As a wisp of smoke In the vastness of the sky, They saw not its fire.

8 Papaq (Wish) Hashvehardar (Ledger)

Would that there were a sweet soul, Ledger: what is left, what’s remained to me from life? I, a doting lover of that soul; Only that, which I’ve given to others away: Would that it became my heaven! A furtive endearment, secret blessings, At times my heart worn down, on occasion a silent tear… Would that I worshipped that soul Like the azure sky, Whatever went to others, sweetened returned to me Would that I worshipped it from afar. Fortified, forever to keep in my soul; Whatever love took from me was not lost to God, Would that it gleamed in my heart He returned it to me, making my life the more fragrant… With its inextinguishable lights, Would that I plunged into it. And now, O Lord, despite my torture, Despite this dried up fountain of my mirth, Only one sweet soul, I still intoxicate myself with the aged wine. Whom I would embrace silently, Only within my soul. And I don’t ask, “what is left?” …What really remains Beneath the ground of bulky trunks of oak trees, Except the solace of having imbibed the sun?

9 ABOUT THE COMPOSERS

Ashot Kartalyan, Movses Pogossian, Artashes Kartalyan, Vatsche Barsoumian, at Lark Musical Society, December, 2018

10 Artur Avanesov was born in 1980 in . From 1997 Artashes Kartalyan (born in Yerevan, Armenia, in 1961) to 2002 he studied piano and composition at the Yerevan State is a prolific Los Angeles-based composer whose oeuvre in- Conservatory (Armenia). Subsequently he completed postgrad- cludes critically acclaimed symphonic and chamber works, and uate studies in composition and musicology at the same con- soundtracks for television and film. His contemporary compo- servatory, taking simultaneously piano master courses abroad, sitions feature melodic and rhythmic elements rooted in Arme- notably as a member of the Lucerne Festival Academy 2003- nian folk music, and draw on a subtle, delicate style of expres- 05, as well as with Ensemble Recherche in Freiburg, Germany sion found in European classical chamber music. (2007). In 2005 he was awarded with Doctor of Arts degree for Kartalyan, who holds a Doctorate of Musical Arts in Mu- his research on Zen Buddhism in the music of XX century. At sic Composition, is also a celebrated pianist, continually the moment, he is a full-time instructor at American University experimenting on Armenian themes in his creations. He is the of Armenia and Musical Composition Program Chair at Yere- leader and director of the Kartalyan Jazz Trio — one of the first van State Conservatory. Being active as a contemporary music jazz trios in Armenia — which has been featured in well-known performer, as well as a collaborative musician, he has contribut- jazz festivals around the world and been lauded by LA Weekly ed to the foundation of Swiss-based international contemporary as “the jazz pick of the week.” His jazz albums have earned nu- music ensemble Laboratorium, Armenian-Georgian ensemble merous Armenian Music Award nominations and wins. Convergence and Armenian-based ensemble Assonance, being A master arranger and orchestrator, Kartalyan is Music Di- also an active member of all these groups. He has collaborated rector for various bands and orchestras based in California, and and performed with such musicians as Pierre Boulez, Krzystof regularly performs internationally with his groups. For the last Penderecki, Rohan de Saram, Kim Kashkashian, Anja Lechner, 25-plus years, Kartalyan has been actively involved with the Vladimir Chernov, Tony Arnold, Tigran Mansurian, Movses Lark Conservatory, where he chairs the composition depart- Pogossian, Seattle Chamber Players, among many others. As ment and teaches counterpoint, orchestration, form and analy- both a composer and performer, he has released a number of sis, advanced harmony and piano performance. CDs with such labels as Deutsche Grammophone, Brilliant Classics, Albany Records, Suoni e Colori, etc. His own com- positions have been performed at international music festivals and other events in many countries, such as Switzerland, USA, , Austria, Germany, the Netherlands, Belgium, Italy, Bra- sil, Canada, , Ukraine, Georgia, Romania, Kosovo, Cy- prus, Lebanon and Iran.

11 Ashot Kartalyan (b. 1985) is a Los Angeles-based com- Born in Armenia and raised in France, Michel Petrossian poser, pianist, music director, orchestrator, and educator. His was attracted by the world of art since his childhood, start- compositions—which range from contemporary chamber piec- ing by painting and studying the guitar and cello, and turning es to film scores to choral works—have garnered international quickly to composing his own music. attention for their structural intricacy and have been performed He graduated from the Paris Conservatory, where he also by leading musicians the world over. Kartalyan specializes in co-founded the Cairn ensemble dedicated to the contempo- writing for chamber ensembles, often incorporating modal rary repertoire. His extensive travels in areas with a rich history themes, many of which have Armenian roots. He has been re- such as Ethiopia, Israel, Uzbekistan, Iran, Jordan, Armenia and currently commissioned by the Dilijan Chamber Music Series, Georgia, the one year residency at the French Archeological for which he has written five pieces to date, including the Suite School of Jerusalem and the study of a dozen ancient languag- for Saxophone & Percussion (2015) and Cypresses (2017). Born es are a source of inspiration for his works, which include the in Yerevan, Armenia, and raised in Southern California, Kar- piano concerto In The Wake Of Ea (2012 Queen Elisabeth In- talyan honed his musical skills from an early age under the tu- ternational Grand Prize for Composition), Ciel à vif for three telage of his father, composer and jazz pianist Artashes, and soloists, choir and orchestra commissioned by AGBU and at the Lark Conservatory, under the wing of maestro Vatsche premiered at the Chatelet Theatre in Paris, France, under the Barsoumian. As he continued his studies in piano performance direction of Alain Altinoglu, Horae quidem cedunt and Chanter at Lark, he developed a natural talent for composition at the l’icône , commissioned by the ensemble Musicatreize, and the age of 12, and went on to be the first Composition graduate of opera-oratorio Le Chant d’Archak premiered at the Tatev mon- the Conservatory. He holds a Bachelor of Music in Composi- astery in Armenia and at the Radio France Auditorium in Paris. tion from California State University, Northridge. Kartalyan is also an established pianist and keyboardist, having performed for sold-out audiences across the globe at such venues as the Sydney Opera House and London’s Wembley Arena. Through his role as the Principal of Lark Conservatory—a core division of the non-profit cultural institution Lark Musical Society in Los Angeles—he dedicatedly works to make high-caliber clas- sical musical education accessible to the local community. He continues to teach music theory, harmony, and a variety of per- formance ensemble classes, and strives to instill in his students a passion for fine arts.

Michel Petrossian (Photo: Radio France / Christophe Abramowitz)

12 He has co-signed the soundtrack of the French-Armenian on instrumental music from the outset of his career, showing a film Bravo, virtuoso! with jazzman Tigran Hamasyan in 2016 marked preference for chamber genres. While still a student of and composed the soundtrack of the Prize winning Gloria mun- Yeghiazaryan’s at the conservatory, Zohrabyan wrote a number di by Robert Guédiguian (official selection at the 2019 Mostra of works for various instrumental combinations. He confined del Cinema di Venezia). Recently he has developed several himself to chamber music in order to be able to concentrate on projects in the USA: a work for pianist Andrew Tyson (Carn- every detail, polish off the musical text and achieve inner har- egie Hall, 2015), a contribution to Rhapsodies Around The World mony. His ideas found their most graphic realization in the two (University of Michigan, 2016), Latens deitas (commissioned books of his Boomerang Games for instrumental ensemble, by the University of Notre Dame, Indiana, 2019) and two com- written some time after his graduation from the conservatory. missions from Dilijan Chamber Music Series, LA, the trio A fiery Performed in Yerevan and at the Georges Pompidou Cultural flame, a flaming fire (2017) and the string quartet Liber Secreto- Centre in Paris, this work summed up seven years of tireless rum Henoch inspired by a visit to Ethiopia (2019). searching on the part of Ashot Zohrabyan. Outstanding musi- His music is published by Editions Gravis (Berlin). A mono- cians, such as the Kronos Quartet, violinists Movses Pogossian graphic CD of his vocal music by the Ensemble Musicatreize is and Varty Manouelian, pianist Artur Avanesov, cellist Medea in preparation. Abramyan and members of the Yerevan Chamber Orchestra, readily perform his works on the concert stage, where they are Ashot Zohrabyan is an esteemed Armenian composer of invariably acclaimed as original and attractive compositions. mostly orchestral, chamber and vocal works that have been His works have also been performed during various festivals, performed in and elsewhere. Zohrabyan pursued his such as the Holland Festival in the Netherlands, and the Dilijan musical education at the Yerevan State Komitas Conserva- Chamber Music Series in Los Angeles, USA. tory from 1967 to 1972, studying composition with Professor Grigori Yeghiazaryan. Following his graduation, he entered the faculty of the Conservatory, first as a teacher of music theory and instrumentation, and later as Professor of Composition (since 1980). His music has been performed throughout Ar- menia, as well as in Russia, , Belarus, Ukraine, Bel- gium, France, Germany, Switzerland, Turkey, Ukraine, and the US. Zohrabyan’s musical language is thoroughly interwoven with the musical tradition of his native Armenia. His compo- sitions are marked by strict logic and general transparency, whilst the minutest structural details are worked out through- out the development of the piece. The composer concentrated

13 ABOUT THE PERFORMERS

Katisse Buckingham is a Los Angeles based saxophone and sic. He appears on releases for Mode Records and Populist Re- flute player who has performed and recorded all over the world cords. As a soloist, Dustin has been featured at the Los Angeles with many great artists across many genres including The Yel- Museum of Contemporary Art, the Carlsbad Music Festival, lowjackets, Prince, Billy Childs, Dr. Dre (including The Chron- the John Cage Centennial Festival in Washington, D.C., and ic), Herbie Hancock, Roy Ayers, Andy Summers, Zawinul Mengi in Reykjavik, Iceland. He holds a DMA from the Uni- Legacy Band, Airto & Flora Purim, LA Guitar Quartet, Brian versity of California San Diego where he studied with Steven Auger, Amos Lee, Snoop Dog, Rakim, Ebi, Poncho Sanchez, Schick, and a BM from the University of Wisconsin where he Michael Buble, Lionel Richie, among many others. D’Addario studied with Anthony Di Sanza. Woodwinds Artist, he has played on numerous films including (improvising) the “Jazz Flute” scene for the Will Ferrell film A Los Angeles native, Niall Taro Ferguson is a cellist, com- Anchorman- The Legend of Ron Burgundy (featured in the Hal poser, and orchestrator. He is currently an active freelance mu- Leonard book- 25 Great Flute Solos), the Golden Globe win- sician, contributing in equal capacity to the worlds of concert ning score to the Robert Redford filmAll Is Lost and is a fea- and commercial music. Niall has studied with cellists Antonio tured soloist on the Universal Pictures animated film Minions, Lysy, Lynn Harrell, Ben Hong, and Timothy Loo. In Los Ange- Warner Bros Smallfoot, and Crazy Rich Asians. He has also re- les, he has performed on many of the city’s premiere contempo- leased three solo records of original music which are a blend of rary music series, such as Monday Evening Concerts (M.E.C.), Jazz, Hip-hop, and - Lyrical Worker, A World To The Jacaranda Music, the Dilijan Chamber Music Series, and the Wise, and The Element in the Room. Hear Now Festival. As a session cellist, he records regularly for several films and television programs. Niall has also studied Dustin Donahue is a percussionist based in Los Angeles. composition with Mark Carlson, Ian Krouse, Bruce Brough- As an advocate for contemporary music, Dustin has commis- ton, and Kurt Rohde. He has orchestrated on several films in- sioned and premiered a large body of solo and chamber music cluding American Factory, Fast and Furious Presents: Hobbs and by living composers while continuing to perform music of the Shaw, and Ni No Kuni. He has worked closely with composers twentieth-century avant-garde. He frequently performs with and artists such as Chad Cannon, Joe Hisaishi, Lukas Graham, the International Contemporary Ensemble and collaborates and many others. As of 2019, Niall is a Program Associate with with many of southern California’s presenters of contemporary the Asia / America New Music Institute (AANMI), a collective music, such as WasteLAnd, the Ojai Music Festival, Monday that pursues cultural exchange through modern music. Niall Evening Concerts, Jacaranda Music, and San Diego New Mu- received his B.A. in 2017 from the UCLA Herb Alpert School

14 of Music, where he studied Cello Performance and Music has recorded extensively for CBC Radio, BBC Radio, Classic Composition. FM, and other European radio networks. His love and com- mitment to chamber music is demonstrated by his musical Violinist Ji Eun Hwang was born in South Korea and has per- directorship and founding in 1989, of the annual Incontri in formed in the United States, Canada, South Korea, France and Terra di Siena Chamber Music Festival in Tuscany, Italy (www. Armenia. She began her musical studies at the Korea National itslafoce.org). Lysy enjoys exploring the versatility of the cello’s University of Art Preparatory School before earning a Bach- voice, from Baroque to electric, and is committed to projects elor of Music in violin performance at Seoul National Univer- which enrich his diverse interests in music. The touring show, sity. Afterwards, she completed an Artist Diploma at the Ja- “Te Amo, Argentina”, a personal journey through the heart and cobs School of Music with Mark Kaplan and Il-Hwan Bae, and soul of Argentina’s fascinating culture, featuring solo cello and Master of Music at UCLA Herb Alpert School of Music with chamber works, dance, film, and spoken word, has met with Movses Pogossian and Varty Manouelian on full scholarship. widespread acclaim. In the summer of 2003 Lysy accepted the Hwang has participated in many international music festivals position of Professor of Cello at University of California, Los including Tanglewood Music Festival, Sarasota Music Festival, Angeles. Prior to moving to the United States, he held a profes- Heifetz International Music Institute, Texas Music Festival, sorship at McGill University in Montréal. AntonioLysy.com and Pontlevoy Music Festival in France. Her musical develop- ment has been furthered in masterclasses with Mihaela Martin, Varty Manouelian made her American debut in 1993 with Pamela Frank, Samuel Rhodes, Ani Kavafian, Mauricio Fuks, the North Carolina Symphony as First Prize winner of the Bry- and Lucie Robert. Since 2012, she has joined Sejong Soloists an International Competition. Also a prizewinner at the Kotzian as a guest artist and she was a principal violinist of Sejong City International Competition, and the Wieniawski International Philharmonic Orchestra. She was a recipient of the Mari and Violin Competition, Manouelian has recorded and appeared as Edmund Edelman Scholarship and a violin loan of Stradivarius a soloist with orchestras in the United States, Bulgaria, Russia, “Duke of Alcantara” c.1732 to use during her studies. She is Armenia, Poland, Spain, and Italy. Her chamber-music perfor- currently working as a violinist in Delirium Musicum in Los mances include participation at the Marlboro Music Festival, Angeles. the El Paso Festival, and the Apple Hill Festival, among others. She has collaborated with Kim Kashkashian, Rohan de Saram, Antonio Lysy, an artist of international stature and dedi- Garrick Ohlsson, Nobuko Imai, Thomas Adès, and members of cated pedagogue, has performed as a soloist in major concert the Juilliard, Guarneri, Tokyo, Brentano, Borromeo, and Men- halls worldwide. He has collaborated with distinguished con- delssohn string quartets. Since joining the Los Angeles Philhar- ductors including Yuri Temirkanov, Charles Dutoit, Sir Yehudi monic in 2004, Manouelian has frequently performed at the Menuhin, Sandor Vegh, and Kees Bakels, and continues to per- LA Phil’s Chamber Music Society and Green Umbrella Series, form regularly both as a solo, and chamber music artist. Lysy as well as at Camerata Pacifica and the Dilijan Series. Her re- cording of Complete Violin Works of Stefan Wolpe (jointly with

15 Movses Pogossian) made the 2015 Top Ten list in the Sunday McGill University where he studied with Matt Haimovitz. In Times (UK). Currently teaching at the UCLA Herb Alpert 2014, his piano trio became national finalists of the MTNA School of Music and at the Colburn School, Varty Manouelian Young Artist Chamber Music Competition, and in 2015 Ja- holds degrees from the State Music Academy in Bulgaria and son won the 2015 Eugene Symphony Young Artist Competi- the Cleveland Institute of Music, where she studied with Boyan tion. He has received numerous awards from foundations and Letchev and Donald Weilerstein. organizations such as the 2016 Zodiac Music Festival Young Artist Award and the Mu Phi Epsilon Eleanor Hale Wilson Violist Morgan O’Shaughnessey has performed live on Cello Schoalrship. In 2017 Jason was a finalist of the McGill RAI Radio 3 at Palazzo Quirinale for the President of the Ital- Concerto Competition and held a principal cellist position of ian Republic. He has also presented several recitals of modern the McGill Symphony Orchestra. Jason has performed cham- Italian works at Teatro la Fenice in Venice as a part of festival lo ber music with artists like Johannes Moser, Axel Strauss, Vic- spirito della musica di venezia, as well as recorded an album of tor Fournelle-Blain, Neal Stulberg, and Denis Bouriakov. He the complete chamber music of Gino Gornini in collaboration currently studies with Antonio Lysy in Los Angeles as a Doc- with the Giorgio Cini Foundation, which was released on the torate of Musical Arts student and strings teaching associate Tactus label. He performs on a fine viola by Vincenzo Cavani di at UCLA’s Herb Alpert School of Music. He was recently se- Spilamberto, and a bow by Darrell Hanks of Ashland, OR. His lected as a fellow to the 2020 International Piatigorsky Cello extensive discography with legendary producer Sylvia Massy Festival. Jason plays on an 1880 Neuner-Hornsteiner cello on includes string arrangements for Johnny Depp, Rihanna, and loan from the Carlsen Cello foundation. Soilwork. He holds a BM from San Francisco Conservatory, where he studied with Jodi Levitz and members of the Kronos Movses Pogossian made his American debut with the Bos- Quartet. His other musical interests include the Scottish high- ton Pops in 1990, about which Boston Globe wrote: “There is land bagpipes, Swedish , and Quebecois fiddle mu- freedom in his playing, but also taste and discipline. It was a fi- sic. A passionate advocate for community involvement in music ery, centered, and highly musical performance…” Prizewinner and art, Morgan is the artistic director for Springsart Series: of several competitions, including the 1986 Tchaikovsky In- a non-profit community concert series that produces accom- ternational Competition, he extensively performed worldwide. plished regional artists in interactive artistic community events Pogossian has collaborated with artists such as Kim Kashkashi- in a yurt deep in the forest near Ashland, Oregon. moshalto.com an, Alexei Lubimov, Jeremy Denk, Rohan de Saram, and with members of the Tokyo, Kronos, and Brentano string quartets. Described as “true talent” by Christophe Huss of Montreal’s He is a Founding Artistic Director of the Dilijan Chamber Mu- Le Devoir, Jason Pegis hold a Bachelor’s of Music from Wil- sic Series, currently in its 15th season (dilijan.larkmusicalsociety. lamette University where he studied with Jason Duckles and org). Valdine Mishkin, and a Master’s of Music on a fellowship from

16 Champion of new music, Pogossian has premiered over 80 Praised for possessing “extraordinary expressivity, and a beau- works, and worked closely with composers such as Kurtág, Har- tiful voice”, mezzo-soprano Danielle Segen is an emerging bison, Saariaho, Mansurian, and Gabriela Lena Frank. Pogos- talent in the Los Angeles music scene. Danielle earned her sian’s discography includes the Complete Sonatas and Partitas Master of Music degree at the University of California Los An- by J. S. Bach, Complete Violin Works by Stefan Wolpe, and solo geles, where she was seen regularly on the opera stage in pro- violin CDs “Inspired by Bach”, “Blooming Sounds”, and “In ductions including Cendrillon, Cosí fan tutte, Tragedy of Carmen Nomine”. Movses Pogossian is Professor of Violin at the UCLA and in the west coast premiere of William Bolcom’s Lucrezia. Herb Alpert School of Music, where he is also Founding Direc- Equally at home singing new compositions as she is performing tor of UCLA Armenian Music Program. He participates in the from the standard repertoire of opera and art song, Danielle Music for Food project, which gives the opportunity to experi- has been sought after to workshop, record, and perform new ence the powerful role music can play as a catalyst for change. works. Recently she collaborated with composer Jeff Kryka to record the theme music for “Traces of the Brush,” a critically Aiko Jimena Richter is a Los Angeles-based violinist, origi- acclaimed documentary on world renowned Chinese art histo- nally from Baltimore, Maryland. She has been a fellow at major rian and calligrapher Fu Shen, directed by Eros Zhao. The last festivals including the National Orchestral Institute, Domaine few years have seen Danielle performing alongside the VEM Forget Academy, Festival Napa Valley, and Kent/Blossom Mu- String Quartet, bringing Armenian art song to local schools sic Festival, during which she performed with the Cleveland and concert venues. As part of the VEM Ensemble Danielle Orchestra. She is also featured on the 2015 Naxos label re- has enjoyed concert tours both in North America and in Ar- cording of Corigliano’s Symphony No. 1 as a member of the menia, with their 2018-2019 season culminating in the greatly NOI festival orchestra. As a soloist and chamber musician, she successful world premieres of Artashes Kartalyan’s “Tekeyan has performed in masterclasses for Gil Shaham, Noah Bendix- Tryptich” and a new string quartet arrangement of Tigran Balgley, Ani Kavafian, Brooklyn Rider, and the Kronos Quar- Mansurian’s “Four Hayrens.” tet among others. Aiko completed undergraduate studies with Nicholas DiEugenio at Ithaca College and The University of Scott St. John is the Director of Chamber Music at The North Carolina, and recently earned her M.M. at UCLA as Colburn School in Los Angeles. Scott is Concertmaster of the a student of Movses Pogossian and Varty Manouelian. Aiko is innovative ROCO Chamber Orchestra, and a frequent partic- a member of the VEM Quartet, string quartet in residence at ipant at the Marlboro Music Festival. Born in Canada, ear- UCLA, with whom she has performed across the US, Canada, ly violin success gave Scott a path to the Curtis Institute in and Armenia. Philadelphia and the chance to work with David Cerone, Ar- nold Steinhardt and Felix Galimir. After winning the Alexan- der Schneider Competition and playing Carnegie Hall debut, NYC pulled Scott into its orbit, where Young Concert Artists

17 gave him fabulous opportunities for performance. In addi- The VEM Ensemble is the cornerstone of the newly created tion to a magical year of working at the Disney Store in Times Armenian Music Program at UCLA, which, thanks to gener- Square, Scott has been Associate Professor at the University ous donor support, as well as artistic guidance of the Lark Mu- of Toronto, and Artist-in-Residence at Stanford University as sical Society, endeavors to raise awareness and celebrate the part of the St. Lawrence String Quartet. He has received an Av- richness and diversity of Armenian musical tradition. In resi- ery Fisher Career Grant and won a Juno Award for recording dence at the UCLA Herb Alpert School of Music and under Mozart with his sister Lara St. John. Scott loves chamber mu- the artistic leadership of Founder/Director Movses Pogossian, sic, Dvorak, new music, music by less-known composers, and the Ensemble consists of the VEM String Quartet and mez- a great espresso. He has been to all the Canadian provinces, 49 zo-soprano Danielle Segen. The VEM Ensemble has worked of the United States, and would prefer to travel by train when with such musicians as David Starobin, Nickolas Kitchen, Kim practical. He is married to violist Sharon Wei and they have a Kashkashian, Seth Knopp, and Tigran Mansurian. The Ensem- spirited daughter named Julia. ble has performed at various venues in Los Angeles including Zipper Hall, Bing Theater, Schoenberg Hall, the Hammer Mu- Charles Tyler has enjoyed a varied career as soloist, chamber seum, as well as in New Mexico, Colorado, and at the Incontri musician and orchestral performer in concert venues around in Terra di Siena Festival in Italy. In his review of their per- the world. He was named winner of the Cleveland Institute of formance in Italy, critic Laurence Vittes writes, “The evening’s Music’s Concerto Competition, top prizewinner of the Osaka most memorable music was made by the VEM Quartet…who International Music Competition, and winner of the Atwater laid out Eduard Mirzoyan’s String Quartet with a feline, subtle Kent Strings Competition. Charles served as co-principal cello grace that touched hearts with its gentle melodic content and of the Hyogo Performing Arts Center Orchestra in Japan for long-lined eloquence.” The VEM Ensemble has recently per- three seasons where he also appeared in numerous chamber formed with great acclaim in Yerevan, Armenia. music and solo recital concerts. In past summers he has partici- pated in the Tanglewood Music Center, Lorin Maazel’s Castle- For more information about the UCLA Armenian Music Pro- ton Festival, and was principal cellist of the National Repertory gram, please visit: Orchestra. Charles also performs as a member of the Arizona MusicFest Orchestra each winter in Scottsdale, AZ. He fre- schoolofmusic.ucla.edu/resources/armenian-music-program/ quently performs in many orchestras around Southern Califor- nia and has performed on the Jacaranda and Dilijan Chamber music series, the Hear Now Music Festival and with the Salas- tina Music Society.

18 UCLA VEM Ensemble

UCLA VEM Ensemble: Morgan O'Shaughnessey, Ji Eun Hwang, Danielle Segen, Aiko Richter, Jason Pegis UCLA VEM Ensemble in Garni, Armenia, June 2019

UCLA VEM Ensemble working on Artashes Kartalyan's Tekeyan Triptych with Vatsche Barsoumian and the composer, Lark Musical Society, March 2019 Recorded on March 7-9, 2019, May 25, 2019, and May 30, 2019 at the Evelyn and Mo Ostin Music Center of the UCLA Herb Alpert School of Music Executive Producer and Artistic Director: Movses Pogossian Recording Sessions Producers Artashes Kartalyan, Ashot Kartalyan, Varty Manouelian, Movses Pogossian Edits Producers Artur Avanesov, Artashes Kartalyan, Ashot Kartalyan, Varty Manouelian, and Movses Pogossian Recording Engineers: Sergey Parfenov and Erik Swanson Editing and Mastering: Sergey Parfenov The recording is made possible by funding from the UCLA Armenian Music Program, the Faculty Opportunity Fund of the UCLA Herb Alpert School of Music, UCLA Narekatsi Chair in Armenian Studies, and the Hugo Davise Fund of the UCLA Music Library The proceeds from this recording will benefit UCLA Armenian Music Program and Lark Musical Society Logistical support Luis Henao, Dan Krisher, Sean Mclaughlin, Lark Musical Society Artistic guidance: Vatsche Barsoumian Commissions of works by Artur Avanesov, Ashot Kartalyan, Michel Petrossian, and Ashot Zohrabian: Lark Musical Society, Elizabeth and Justus Schlichtings Commission of work by Artashes Kartalyan: Tekeyan Cultural Association Michel Petrossian's music published by Edition Gravis Artashes & Ashot Kartalyan's music published by Drazark Press Booklet interior photos: Movses Pogossian VEM photo (page 31) by Brian Runt Pictured on cover & page 8 Handmade necklace by Nune Kartalyan (Photo: Anush Kartalyan) Score backgrounds: Artur Avanesov's manuscript of Modulation Necklace Design, typography & layout: Marc Wolf, marcjwolf.com NEW FOCUS RECORDINGS NEW FOCUS FCR244 RECORDINGS NEWFOCUSRECORDINGS.COM NEW FOCUS RECORDINGS NEW FOCUS RECORDINGS