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Music in Poetry and Poetry in Music: Tumanian's Anush City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 Music In Poetry And Poetry In Music: Tumanian's Anush Beata Asmik Navratil Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1068 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC IN POETRY AND POETRY IN MUSIC: TUMANIAN’S ANUSH By BEATA NAVRATIL A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2015 ©2015 BEATA NAVRATIL All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts James R. Cowdery Date Chair of Examining Committee Norman Carey Date Executive Officer Stephen Blum Zdravko Blažeković Tatjana Markovic Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC IN POETRY AND POETRY IN MUSIC: TUMANIAN’S ANUSH by Beata Navratil Advisor: Professor Stephen Blum The poem Anush by the Armenian poet Hovhannes Tumanian (1869–1923) is rooted in traditional Armenian music. Tumanian’s poem reflects a number of manifestations thereof: (1) It borrows in its style from Armenian lyrical songs (such as lalik and khagh), from the parerg style (the traditional dance-song), and from the voghb style (laments such as funeral laments, bayati, and tragic odes). (2) Ashug style of storytelling/singing as a main form of conveying the storyline and emotions of protagonists are present. (3) Dancing and music making during Armenian traditional rituals—in particular, the Hambarsum celebration (Feast of Christ’s Ascension), the winter village wedding, and the kokh (wrestling dance)—are in the poem inseparable from the protagonists’ fate. (4) Songs incorporated into the poem serve as personifications of characters and their fate. (5) The poet uses the folk music idioms such as a presence of natural phenomena to tell the story and emotions. The three dominant interconnected components of nature— mountains, flowers and bodies of water— create a psychological background and all songs in the poem are connected with them emulating every mood, emotion and physical attribute of the people, as there is no direct description of their feelings or appearances. Such transference and humanization of nature, combined with musical references (dancing mountains, crying- lamenting clouds, springs lamenting “as nymphs”, the river singing the hymns) are used as vehicles for telling/singing the story. iv Tigranian conceived his opera Anush in 1908 and completed its first version in 1912. The libretto was written by the composer and he almost entirely preserved the 1903 version of the poem in it. The opera by Tigranian shows a close reading of the poem by the composer as the poem’s “songs” come alive with traditional Armenian intonations. Komitas started to work on his Anush in 1904 and only some portions of the score have been preserved. For the parts where Tumanian included traditional songs or rituals in the poem, Komitas used the traditional Armenian songs and composed his own melodies for sections pertaining to the “telling” parts. This musical approach closely matched Tumanian’s poetic language. v Dedicated to my family In loving memory of my father, Razmik Degoian vi Acknowledgements I would like to express my deepest gratitude to my supervisor, Professor Stephen Blum, for his support and genuine interest in the subject. I am grateful for his insightful suggestions, ideas, and endless patience while mentoring me. I would like to express my deepest appreciation and sincere gratitude to the committee member, Professor Zdravko Blažeković whose help has been crucial to finishing my work. His input has been invaluable. I would like to thank Professor Tatjana Marković for her support and kind words which made my dissertation defense a wonderful experience. Her ideas and thoughts have given me inspiration for future work. I would like to thank committee chair, Professor James R. Cowdery for his kind help and support. I would like to thank Professor Norman Carey for his understanding and patience throughout all these years. I would like to thank Jacqueline Martelle for her support and encouragement. I would like to thank my family; my mother Lamara, my brothers Garry and Tigran. I am grateful for their love and support. Last but not least, I would like to give my thanks to my beloved husband, Dr.-Ing. Jiri Navratil whose reliability and problem solving skills helped me work and succeed. His ability to never leave anything unfinished is inspirational. Finally, my children, Vincent, Philip, and Natalie remind me of what is important in life. For that I am thankful as well. vii Table of Contents Abstract .......................................................................................................................................... iv Acknowledgements ................................................................................................................................ vii Table of Contents................................................................................................................................... viii Table of Figures and Examples ................................................................................................................ x Introduction ..................................................................................................................................... 1 Hovhannes Tumanian ................................................................................................................... 11 The poem Anush and Armenian musical folklore ........................................................................ 16 Tumanian’s Anush in relation to ashug poetry ............................................................................. 21 Poetic and musical forms as one ............................................................................................................. 21 Music in the poem Anush ............................................................................................................. 35 Nature and Folk Metaphors in Song and Ritual. .................................................................................... 35 Music as an integral part of rituals and beliefs ............................................................................. 48 Hambartsum (The Feast of Ascension) .................................................................................................. 52 Jan Giulum and Vitchaki Erg ............................................................................................................................. 54 Wedding rituals and the wrestling-dance kokh ...................................................................................... 64 Cries and Laments......................................................................................................................... 72 Fairies’ Lament ....................................................................................................................................... 75 The lament of Saro’s mother .................................................................................................................. 80 Anush’s lament ....................................................................................................................................... 86 Lyrical Songs ................................................................................................................................ 95 Saro’s song “Aghchi, anastvats” (O, Godless maiden) .......................................................................... 95 Bardzr sarer........................................................................................................................................... 101 Parerg “Ampi Takits” (Beneath the clouds) ......................................................................................... 104 Tigranian and his opera Anush ................................................................................................... 113 The Opera Anush .................................................................................................................................. 118 Poetry in Music ..................................................................................................................................... 127 Hambartsum Yayla and Jan Giulum. ............................................................................................................... 131 Saro’s Serenade ................................................................................................................................................ 136 Bardzr sarer (Tall mountains). ......................................................................................................................... 140 Ampi takits (From under the clouds). .............................................................................................................. 143 Komitas and his opera Anush ..................................................................................................... 150 Conclusion ...........................................................................................................................................
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