Tigran Hamasyan a Fable 2011 FLAC

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Pashinyan Meets with Community Members in New York PASHINYAN, from Page 1 Ferent Mood, but the Atmosphere
SEPTEMBER 29, 2018 Mirror-SpeTHE ARMENIAN ctator Volume LXXXIX, NO. 11, Issue 4555 $ 2.00 NEWS The First English Language Armenian Weekly in the United States Since 1932 INBRIEF Trump Hails ‘New Era’ Pashinyan In Armenia WASHINGTON (RFE/RL) — US President Meets with Donald Trump has praised mass protests that led to regime change in Armenia in May and said his administration stands ready to help the new Community Armenian government implement sweeping reforms promised by it. “Armenia has much to celebrate this year,” Trump wrote to Prime Minister Nikol Pashinyan Members in in a congratulatory message on the 27th anniver- sary of Armenia’s independence on September 21. New York “A peaceful, popular movement ushered in a new era in Armenia, and we look forward to working with you to help you execute the will of NEW YORK (Combined Sources) your people to combat corruption and to estab- — Prime Minister Nikol Pashinyan, in New lish representative, accountable governance, rule York for the opening session of the United of law buttressed by an independent judiciary, Nations, met on Sunday, September 23, and political and economic competition,” read with members of the Armenian community. the message publicized by Pashinyan’s office. During the reception, he spoke at length “I look forward to further strengthening the about the country’s political situation partnership that began between our countries Prime Minister Pashinyan speaks with the assembled guests listening. domestically as well as international ties. one hundred years ago,” it said. He addressed the results of the mayoral US Secretary of State Mike Pompeo similarly election in Yerevan, which netted his sup- saluted “remarkable changes” in Armenia.
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Asymmetrical Meter, Ostinati, and Cycles in the Music of Tigran Hamasyan
Asymmetrical Meter, Ostinati, and Cycles in the Music of Tigran Hamasyan Sco C. Schumann NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.2/mto.21.27.2.schumann.php KEYWORDS: Tigran Hamasyan, meter, rhythm, cycles, ostinati, popular music, jazz ABSTRACT: Tigran Hamasyan (b. 1987) is an Armenian jazz pianist and composer whose music has been described as “grounded in serious reinterpretations of Armenian culture via his take on Bach, French romantics, jazz, dubstep, metal, and modern electronic music” (2018, 637). Hamasyan has recorded thirteen studio albums between the years of 2006–2020, and analyzing these recordings suggests that asymmetrical meter, ostinati, and cycles are not a random occurrence in Hamasyan’s music but rather a crucial component of his compositional language. This article deﬁnes three types of cycles—phrasal, structural, and developmental—each of which has a unique compositional function. Another important distinction made in this article is the diﬀerence between “complete” and “incomplete” cycles. Complete cycles are those that repeat two metrical layers without disruption until they return to a shared point of alignment, while incomplete cycles are those in which the meter used in one or more of the layers is disrupted before returning to a shared point of alignment. Several of my own transcriptions of Hamasyan’s music are analyzed to discuss how asymmetrical meter, ostinati, and cycles are used to create various formal processes in Hamasyan’s compositions. DOI: 10.30535/mto.27.2.5 Received December 2020 Volume 27, Number 2, June 2021 Copyright © 2021 Society for Music Theory Introduction [1.1] Born on July 17, 1987 in Gyumri, Armenia, Tigran Hamasyan has gained international renown primarily as a jazz pianist and composer.
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Tigran Hamasyan
Tigran Hamasyan 18 nov 2019 18 NOVEMBRO SEGUNDA Oriente 20:00 — Grande Auditório — Ocidente Tigran Hamasyan Piano / Direção convidados especiais Norayr Kartashyan Duduk Coro Gulbenkian sopranos Filipa Passos (solista), Maria José Conceição, Mariana Moldão, Marisa Figueira, Rosa Caldeira, Susana Duarte contraltos Inês Martins, Liliana Silva, Marta Ribeiro, Patrícia Mendes, Tânia Valente tenores António Gonçalves, Francisco Cortes, Jaime Bacharel, Pedro Miguel, Pedro Rodrigues tigran hamasyan© vahan stepanyan baixos Fernando Gomes, Filipe Leal, Hugo Wever, Nascido em Gyumri, na Arménia, em 1987, um conceito de “observações musicais acerca do Mário Almeida, Nuno Gonçalo Fonseca Tigran Hamasyan emigrou aos 16 anos para mundo em que vivemos e do peso da História Jorge Matta Maestro do Coro Gulbenkian os Estados Unidos da América. Em Los Angeles que carregamos connosco” e que Hamasyan desenvolveu o seu prodigioso talento pianístico transpõe, de forma magnífica, para as suas e lançou as bases para a sua carreira. Mas o composições e para as revisitações de temas apelo da sua Arménia natal não deixaria de dos reportórios populares e eruditos arménios. imagem de capa: chamar por si e foi para lá que voltou, passados Exemplar desse largo escopo temporal em que tigran hamasyan © maeve stam Tigran Hamasyan Seleção de temas dos discos alguns anos, instalando-se em Yerevan. O olhar habita a mente criativa de Tigran Hamasyan For Gyumri, An Ancient Observer que Hamasyan dedica a esse lugar resume, em é o reportório por si abordado em Luys i Luso, e Luys i Luso grande parte, a música que vem desenvolvendo projeto dedicado à música sacra do seu país, desde que alcançou reconhecimento global partilhado com o Yerevan State Chamber Choir, com A Fable (2010): a sua casa tem vista para o e que atravessa quinze séculos de história.
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Tigran Hamasyan
Phil Stöckli - CD reviews for Jazz'n more Tigran Hamasyan 3 / 2018 Tigran Hamasyan "For Gyumri" Tigran Hamasyan (p, voc) Nonesuch / Warner 5 stars Hamasyan hat ein neues, kleines Meisterwerk geschaffen: "For Gyumri" ist ein Epilog zum 2017 erschienen Vorgängeralbum "An Ancient Observer". Beim fünf Songs und nur 29 Minuten umfassenden Album handelt es sich nicht um ein Jazzalbum im engeren Sinn. Aber wer Hamasyan kennt, weiss bereits, dass sich der Armenische Pianist je länger je mehr der (Armenischen) Volksmusik verschrieben fühlt, und diese mit Elementen aus Jazz, Elektronika, Minimal Music, Zwölfton-Musik oder Rock ergänzt. Die neueste CD ist seinem Geburtsort, der Armenischen Stadt Gyumri, gewidmet. Dort wurde er 1987 geboren, bevor er 2003 nach Kalifornien auswanderte. "Aragatz" ist der höchste Berg in Armenien und der Name des lokalen Fussballclubs - ein sanfter Moll-Waltzer mit vokalisierter Melodie im Hintergrund. Wie er die Intensität des Songs steigert, leicht atonale Motive einstreut und dann auf dem Höhepunkt die aufsteigenden Glissando in fallende und schnell verklingende Glitzereffekte verwandelt, ist phänomenal. Hamasyan atmet durch die Musik und diese atmet durch ihn. Selten hört man einen Musiker, der eine solchen Tiefgang erzeugen und eine derart natürliche Verbindung zur Musik herstellen kann. Da hilft ihm auch sein nuancierter Anschlag, der in Jazzgefilden nach Vergleichbarem sucht. Auf der Ballade "Ray of Light" bringt er das Piano mithilfe elektronischer Effekte zum Flimmern, und vermittelt dadurch denselben Eindruck, wie wenn man einen alten, verstaubten Film aus der Kiste holt und in eine vergessen geglaubte Welt eintaucht. "The American" beginnt als unschuldige Ballade, die sich in eine wirbelnde Melodie im 6/4 verwandelt.
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Tigran Hamasyan ‘For Gyumri’ Solo Concert to Benefit Children of Armenia Fund
FOR IMMEDIATE RELEASE CAP UCLA Presents Pianist and Composer Tigran Hamasyan ‘For Gyumri’ Solo Concert to Benefit Children of Armenia Fund October 14 at Royce Hall “With startling combinations of jazz, minimalist, electronic, folk and songwriterly elements … Hamasyan travels musical expanses marked with heavy grooves, ethereal voices, pristine piano playing and ancient melodies. You’ll hear nothing else like this.” —NPR Music UCLA’s Center for the Art of Performance (CAP UCLA) announces the return of pianist and composer Tigran Hamasyan in a solo performance featuring works from his latest album, For Gyumri, to benefit the Children of Armenia Fund on Sunday, Oct. 14 at 5 p.m. at Royce Hall. Tickets for $29–$59 are available now at cap.ucla.edu, 310-825- 2101, Ticketmaster and the UCLA Central Ticket Office. Considered one of the most remarkable and distinctive jazz-meets-rock pianists of his generation, Hamasyan fuses potent jazz improvisation with the rich folkloric music of his native Armenia. A companion to last year’s An Ancient Observer, For Gyumri (February 2018, Nonesuch) is dedicated to his hometown of Gyumri, Armenia, where he was born in 1987 before relocating with his family to Los Angeles in 2003. He currently resides in Erevan, Armenia. Hamasyan describes the songs as “musical observations about the world we live in now, and the weight of history we carry with us.” All About Jazz hailed For Gyumri as “a loving tribute to his home city” and The Guardian raved, “he’s the hottest pianist in jazz, and he likes to mix things up, whether it’s bebop, thrash metal or dubstep.
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Uning-Uningan”
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Tigran Hamasyan: »Luys I Luso«
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Tigran Hamasyan «La Création Du Monde»
2019 19:00 22.11.Grand Auditorium Vendredi / Freitag / Friday Aventure+ Tigran Hamasyan «La Création du monde» Orchestre Philharmonique du Luxembourg Teddy Abrams direction Tigran Hamasyan piano Jeremy Bruyère double bass Arthur Hnatek drums Après le concert / im Anschluss an das Konzert Grand Auditorium Tigran Hamasyan piano Darius Milhaud (1892–1974) La Création du monde op. 81a (1923) N° 1: Ouverture N° 2: Le chaos avant la création N° 3: La naissance de la flore et de la faune N° 4: La naissance de l’homme et de la femme N° 5: Le désir N° 6: Le printemps ou l’apaisement 19’ Igor Stravinsky (1882–1971) Concerto en mi bémol majeur (Es-Dur) «Dumbarton Oaks» (1937/38) Tempo giusto, attacca: Allegretto, attacca: Con moto 12’ — Tigran Hamasyan (1987) Lilac (2015) Longing (2010) Markos and Markos (2017) Road Song (2013) The Apple Orchard in Saghmosavanq (2015) Den Houschtejang an d’Houschteketti Martin Fengel Den Houschtejang L’ailleurs et l’avant… an d’Houschteketti ici et maintenant Max Noubel Après les années funestes de la Grande Guerre qui avait ravagé l’Europe et décimé les forces vives des nations, les années 1920 furent celles d’une renaissance fondée sur un intense besoin de liberté. Paris s’imposa comme la capitale des « Années folles » avec ses mémorables fêtes et divertissements qui témoignaient d’un irrépressible besoin d’insouciance et de légèreté. Mais cette décennie enchantée fut aussi celle des avant-gardes avec leur foisonnement cosmopolite d’artistes peintres, sculpteurs et musi- ciens, tous séduits par de nouveaux horizons artistiques et culturels. La fascination pour l’Afrique fut particulièrement vive au point que l’on parlait alors de « négrophilie ».
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