DOCSLIB.ORG

UNIVERSITY of OREGON • SCHOOL of MUSIC Department of Dance; $10, $5 Beall Concert Hall Sunday Evening Tuesday, April 13 • 8 P.M., Beall Hall 8:00 P.M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UNIVERSITY of OREGON • SCHOOL of MUSIC Department of Dance; $10, $5 Beall Concert Hall Sunday Evening Tuesday, April 13 • 8 P.M., Beall Hall 8:00 P.M SCHOOL OF MUSIC COMING EVENTS For more information on any of these events, or to be on the UO Music mailing list, call the music school’s Community Relations Office, weekdays, at 346-5678. To listen to a taped message of the week’s coming events, call 485-2000, ext. 2533. Mon., April 5 • 8 p.m., Dougherty Theatre DANCE AFRICA UNIVERSITY OF OREGON • SCHOOL OF MUSIC Department of Dance; $10, $5 Beall Concert Hall Sunday evening Tuesday, April 13 • 8 p.m., Beall Hall 8:00 p.m. April 4, 2004 GARY LEWIS, Flute Faculty Artist Series; $9, $5 UNIVERSITY OF OREGON Thursday, April 15 • 1 p.m., Beall Hall STUDENT FORUM ETHOS PERCUSSION QUARTET SCHOOL OF MUSIC Free WORLD MUSIC SERIES Thursday, April 15 • 8 p.m., Beall Hall ETHOS PERCUSSION GROUP Guest Ensemble; $20, $15, $12 presents Contemporary percussion music. Advance tickets from Hult Center (682-5000) or EMU (346-4363). MUSIC OF ARMENIA April 16–17 • 8 p.m., Dougherty Theatre SHOGHAKEN ENSEMBLE UO REPERTORY DANCE COMPANY Gevorg Dabaghyan, duduk, zurna Department of Dance; $10, $5 Tigran Ambaryan, kamancha Aleksan Harutyunyan, voice Saturday, April 17 • 8 p.m., Beall Hall Hasmik Harutyunyan, voice MASTERS OF INDIAN MUSIC with Karine Hovhannisyan, kanon ETHOS PERCUSSION GROUP Kamo Khatchaturian, dhol Guest Ensembles; $20, $15, $12 Grigor Takushian, duduk Levon Tevanian, blul, shvi, tav shvi, pku Sunday, April 18 • 3 p.m., Beall Hall UNIVERSITY SYMPHONY UO Ensemble; $5, $3 UNIVERSITY OF OREGON * * * O 104th Season, 85th program PART I 2004 Shoghaken Tour produced by Direct Cultural Access Inc. with the following sponsor support: Tsamerov Par (“braid dance”) Mr. & Mrs. Nubar & Anna Afeyan Foundation A dance in the “urban folk” genre written by 20th-century Armenian American Cultural Assoc. female composer Dzovak Hambartsumyan in which young Mr. & Mrs. Varujan & Linda Arslanyan Mr. & Mrs. Edward & Eleonore Aslanian Foundation female dancers twirl their long braids. Mr. & Mrs. Nishan Atinizian Mr. & Mrs. Kevork Atinizian Mr. & Mrs Vartkess & Rita Balian Janoy (“oh, my dear”) Mr. & Mrs. Jim and Marta Batmasian A wedding song traditionally sung by family elders as they Cafesjian Family Foundation moved in a half-circle in a quiet, solemn dance called a Cannery Row Company Mr. & Mrs. Vahan and Anoush Chamlian “govend”. “Oh, my dear/ Wild, long-necked crane/ Father, Mr. Haig Dadourian & the United Armenian Charities mother, have me married/ Give me to a shepherd/ Not to Dr. Raymond Damadian Dickranian Family Trust - Mrs. Eleanor Dickranian the master who will weave his threads/ But forget me/ Or to Mrs. Laurel Karabian the merchant who will count his profit/ But forget me/ Give Mrs. Cynthia Norian me to a shepherd/ Give me to the winds of the mountain/ Dr. & Mrs. Heratch & Sonya Doumanian Mr. Robert Fesjian & the Fesjian Foundation Feed me the milk of the black sheep/ Put me to sleep in the Mrs. Siran Gabrellian bed of the shepherd” Dr. Arnold & Mrs. Dianne Gazarian & The Berberian & Gazarian Family Foundation Mr. & Mrs. Hirant & Ruby Gulian Shatakhi Dzernapar (“hand dance of Shatakh”) Hagopian Family Foundation Mr. & Mrs. Robert Hekemian Jr. & Hekemian Family Foundation A mournful female solo wedding dance in 6/8 rhythm em- Mrs. Ann Hintlian phasizing graceful hand movements. Traditionally danced Mr. & Mrs. Jirair S. & Elizabeth Hovnanian Family Foundation as part of the ceremony of taking a bride-to-be from her Mr. & Mrs. Kevorg & Sirvart Hovnanian Mr. & Mrs. Vahag & Hasmik Hovnanian family home. From Shatakh, a region south of Lake Van in Armen & Bersabe Jerejian Foundation eastern Anatolia. Mr. & Mrs. Edward Kashian Mr. Haig Kelegian & Bicycle Casino Mr. Luther Khachigian & Cal Western Nurseries Karabakhi Horovel (“horovel of Karabakh”) Garabed & Aghavni Kouzoujian Benevolent Foundation A horovel is a work song traditionally sung in a recitative Mrs. Barbara Lorincie Megerian Rugs call-and-response form while ploughing, its drawn-out free Mr. & Mrs. Cyrus Melikian meter lines sometimes corresponding to the time it takes to John Mirak Foundation Ms. Carolyn Mugar & the Azadoutioun Foundation plough a length of field. Karabakh is an Armenian enclave K. George & Carolann S. Najarian Charitable Foundation Inc. surrounded by modern Azerbaijan and is historically one Mr. & Mrs. Martin & Anig Nalbandian of the richest Armenian cultural regions. Mr. & Mrs. Nazar & Artemis Nazarian Jerair Nishanian Foundation, Inc. Mr. Edward Paloyan Zangezuri Par Pehlivanian Family Foundation Leon S. Peters Foundation A women’s dance in 6/8 from the mountainous southern Philibosian Foundation Armenian region of Zangezur (bordering Azerbaijan) in Mr. & Mrs. Stephen & Elizabeth Sabounjian Foundation Mr. Arsen Sanjian which dancers mime the gestures of various female tasks, Mrs. Louise Simone & the Manoogian Simone Foundation such as rocking a cradle, sewing, or knitting. The Starr Foundation Mr. & Mrs. Arshag & Takouhi Tarpinian Mr. Tom Tarzian Gorani Mr. & Mrs. Bruce & Katherine Tatarian Pagan in origin and widespread in Anatolian Armenian vil- Mr. & Mrs. Jack Tenbekjian Mr. & Mrs. Harry Toufayan lages, Gorani songs tell the stories of emigrants forced to Janet & Agnes Saghatelian of Valley Lavosh Baking Co. leave their homes. Mr. & Mrs. George & Margaret Yacoubian ally the director of, Armenian National Radio’s Agoonk Ensemble, Hovern Enkan (“Coolness has descended”) and then as a soloist in the National Opera and as a member of A traditional duduk folk melody. the State Academic Choir. He performed with these various groups around the globe. He is now a soloist in the National Chamber Choir Kan Voor Jan Im (“As long as I am alive”) of Armenia and the vocal group “Hye Folk.” A song by the great 18th-century Armenian ashugh Sayat Nova. Featuring Tigran Ambaryan on the kamancha, an in- Hasmik Harutyunyan (vocals), Aleksan’s sister, is one of Armenia’s strument long associated with the lone travelling trouba- best-known folk singers, specializing in the songs of Western Arme- dour. nia. Born in Yerevan in 1960, she graduated from the Arno Babaja- nian School of Music and the Yerevan State Pedagogical Institute and was a soloist for several years in Armenian National Radio’s Shalakho Agoonk Ensemble. Well known in Armenia for her frequently A male solo dance in 6/8 from the Caucasus region, featur- broadcast performances of traditional lullabies, she has just issued ing characteristically Caucasian fast footwork, abrupt turns, a new recording, Armenian Lullabies, on Traditional Crossroads, high kicks and deep knee bends. Aram Khachaturian in- CD 4321. As a member of the Shoghaken Ensemble she was fea- cluded the melody in his ballet Gayane. Often played as tured as a soloist on The Music of Armenia (Celestial Harmonies). a strictly instrumental piece, here the tune is a vehicle for She has travelled throughout Armenia and Europe presenting Ar- the extraordinary pyrotechnics of Karine Hovhannisyan on menian folk music and is now the artistic director of the Hayrig kanon. Mouradian Children’s Song and Dance Folklore Group. Ororotsayin (“lullaby”) Karine Hovhannisyan (kanon), born in Yerevan in 1966, is a gradu- A medley of verses from 4 lullabies: 1. Pootanya Ororot- ate of the Tigran Choukhajyan Music School and the Arno Babaja- sayin (“Lullaby of Pontus”), from the ancient province of nyan School of Music, and a prizewinner at the renowned Sayat Pontus on the Black Sea; 2. Taroni Heyroor (“Lullaby of Nova Competition. She is currently a post-graduate student and Taron”), from the town of Mush, historical Taron region; teacher at the Yerevan State Conservatory and a member of the Ar- 3. Roori Roori (“Rock, rock”); 4. Nani Bala (“Sleep, my menian State Dance Ensemble. She recorded a solo CD as part of child”), from the town of Van. The Music of Armenia box set (Celestial Harmonies, Volume 3). Kamo Khatchaturian (dhol) studied at the Romanos Melikian Music Saren Gookayi (“I was coming from the mountain”) Institute and was a member of Armenian National Radio’s Agoonk A lyric song by the blind ashugh Sheram (1857-1938), the Ensemble for several years. He currently performs and tours with most famous modern musician in the Armenian troubadour the Shoghaken Ensemble. tradition. Grigor Takushian (dham duduk [drone]), born in Yerevan in 1965, Armenak Ghazariani Yerk (“Armenak Ghazarian’s song”) graduated from the Romanos Melikian Music Institute and has per- A patriotic song from the turn of the 20th century written formed with both the Agoonk Ensemble and with Shoghaken. by Ghazarian, a leader in the Armenians’ struggle for free- dom from Ottoman rule. Levon Tevanyan (shvi), born in Yerevan in 1975, graduated from the Komitas Conservatory. He played on the soundtrack for the Iranian Yes oo Yars (“my love and I”) film Miss Maria along with Gevorg Dabaghyan and has performed A spry line-dance in 6/8 called the ververi (literally “up”), in concerts throughout Europe and the Middle East. He is also an characterized by repeated jumps, in which dancers would accomplished pianist and has given solo concerts in Yerevan. He traditionally break into song. currently plays with the Tkzar National Instrument Ensemble. INTERMISSION * * * PART II The dhol is a large cylindrical drum with skin on both sides, usual- ly played with the hands, though for loud, traditional outdoor cel- Karabakhi Harsanekan Par ebrations a pair of wooden sticks are used to create a heavy beat. A “wedding dance of Karabakh,” here featuring Gevorg Dabaghyan on the zurna, its urgent wail, heard hundreds of * * * yards away, a traditional opener and closer of ceremonies. ABOUT TONIGHT’S ARTISTS Mokats Mirza (“The Lord of Moks”) An epic song about the death of the Lord of Moks, a prov- Founded by Gevorg Dabaghyan in 1991, the Shoghaken Ensemble ince of historical Armenia southwest of Lake Van whose has become one of the most respected traditional music ensembles people often struggled against various nomadic tribes. The in Armenia. Dedicated to rediscovering and continuing Armenia’s Lord of Jizre invites the Lord of Moks to visit, only to poi- extraordinary folk music history, the group presents music from son him.
Load more

Recommended publications
  • Festival Programme Festival Programme - Table of Contents
    FESTIVAL PROGRAMME FESTIVAL PROGRAMME - TABLE OF CONTENTS Welcome from the VICO ……………………………………………………………….. 3 Concerts & Notes on the Music • Hidden Treasures - Feb. 20 & 25 ……………………………………………….. 4 • Intimate Sounds of Araxes - Feb. 26 ……………………………………………. 6 • Notes From the Araxes Basin - Feb. 27 ………………………………………… 7 • Passage: Constantinople & Friends - Feb. 28 ………………………………… 10 Other Festival Events • Music of the Whole World (FREE!) - Feb. 19 & 24 …………………………… 11 • Music in the Morning - Feb. 23 ………………………………………………… 12 • UBC Noon-Hour Concert - Feb. 24 ……………………………………………. 12 About the Guest Ensembles ………………………………………………………….. 13 About the Musicians …………………………………………………………………… 14 About the Composers …………………………………………………………………. 16 Acknowledgements ……………………………………………………………………. 20 FESTIVAL TICKETS & INFORMATION vi-co.org | [email protected] | 604.224.6201 PRODUCTION CREDITS Artistic Director - Mark Armanini Composer-in-Residence & Senior Project Manager - Farshid Samandari Communications Manager & Administrator - Melanie Thompson Operations Coordinator - Allison White Artistic Advisor & Financial Manager - Moshe Denburg Audio-Visual Recording & Technical Assistance - Don Xaliman & Camilia Frey 2 WELCOME FROM THE ARTISTIC DIRECTOR On behalf of the Vancouver Inter-Cultural Orchestra staff and Board of Directors, it is my great pleasure to welcome you to the 2016 edition of our Global Soundscapes Festival: Notes From the Araxes Basin. Thank you for joining us as we collaborate with virtuoso soloists from Turkey, Armenia, Lebanon and Iran, and visiting Canadian ensembles from Victoria and Montreal, to present traditional, contemporary and intercultural music of the Middle East and Canada. The Araxes (or Aras) River starts in Turkey, and flows along the border with Armenia into Azerbaijan, where it continues along another border (with Iran), until it joins the Kura and together they reach the Caspian Sea. As major rivers often are, the Araxes is a boundary marker, but also a roadway, where tributaries, travellers, cultures and ideas meet and are swept along on voyages of discovery.
    [Show full text]
  • Imagining the Armenian Duduk: Cross-Cultural Borrowing in a Seemingly Borderless World
    REED, HEIDI, D.M.A. (Re)imagining the Armenian Duduk: Cross-Cultural Borrowing in a Seemingly Borderless World. (2017) Directed by Drs. M. Ashley Barret and J. Revell Carr. 104 pp. In this project, I adapted a song traditionally played on the Armenian duduk for the English horn. Using Walter Benjamin’s “The Task of the Translator” as a guide, the piece “Knir Im Balik” was transcribed. Performances of the piece by Vatche Hovsepian and Gevorg Dabaghyan are used as models. Included is an illustration of how learning about the duduk and its role in Armenia informed the transcription. Also shown is the decision- making process while transcribing and notating both the original recordings and the English horn version. (RE)IMAGINING THE ARMENIAN DUDUK: CROSS-CULTURAL BORROWING IN A SEEMINGLY BORDERLESS WORLD by Heidi Reed A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2017 Approved by M. Ashley Barret Committee Co-Chair J. Revell Carr Committee Co-Chair © 2017 Heidi Reed To Phyllis Rae Miller Allen and Joseph McAlister Reed ii APPROVAL PAGE This dissertation written by Heidi Reed has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. Committee Co-Chairs M. Ashley Barret J. Revell Carr Committee Members Michael J. Burns Steven C. Stusek 27 March 2017 Date of Acceptance by Committee 14 March 2016 Date of Final Oral Examination iii ACKNOWLEDGEMENTS I would like to thank first and foremost my chairs, Dr.
    [Show full text]
  • The Role of Folk Music, the Duduk, and Clarinet in the Works of Contemporary Armenian Composers Aram Khachaturian and Vache Sharafyan Anastasia Christofakis
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2015 The Music That Shaped a Nation: The Role of Folk Music, the Duduk, and Clarinet in the Works of Contemporary Armenian Composers Aram Khachaturian and Vache Sharafyan Anastasia Christofakis Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE MUSIC THAT SHAPED A NATION: THE ROLE OF FOLK MUSIC, THE DUDUK, AND CLARINET IN THE WORKS OF CONTEMPORARY ARMENIAN COMPOSERS ARAM KHACHATURIAN AND VACHE SHARAFYAN By ANASTASIA CHRISTOFAKIS A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2015 Anastasia Christofakis defended this treatise on April 14, 2015. The members of the supervisory committee were: Deborah Bish Professor Directing Treatise Frank Gunderson University Representative Alexander Jiménez Committee Member Eric Ohlsson Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my Armenian friends. iii ACKNOWLEDGMENTS First and foremost, I would like to thank my parents for their continuous support and unyielding dedication to my success. Secondly, I would like to thank Dr. Bish, for tolerating my wry sense of humor and helping me to conquer all fears. To the members of my committee, Alexander Jiménez, Eric Ohlsson, and Frank Gunderson, for their time and advice throughout this entire process. To Vache Sharafyan for welcoming me into his home and his creative life, thank you for sharing your music and valuable insights with me.
    [Show full text]
  • KOMITAS: DIVINE LITURGY Arr
    KOMITAS DIVINE LITURGY Arr. VACHE SHARAFYAN DE 3590 LATVIAN RADIO CHOIR SIGVARDS KLAVA, conductor 1 Komitas in Tbilisi, 1896 1 DELOS DE 3590 KOMITAS DIVINE LITURGY DIVINE LITURGY DELOS DE 3590 KOMITAS KOMITAS DIVINE LITURGY Arranged for mixed chorus by VACHE SHARAFYAN LATVIAN RADIO CHOIR SIGVARDS KLAVA, conductor Armen Badalyan, tenor Hovhannes Nersesyan, bass ♦ Total Playing Time: 79:47 SHARAFYAN ARR. VACHE DE 3590 © 2020 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998 (800) 364-0645 • (707) 996-3844 [email protected] • www.delosmusic.com KOMITAS: DIVINE LITURGY Arr. Vache Sharafyan 1. Hymn of Vesting (1:36) Armen Badalyan; Choir 2. Chosen of God (3:02) Hovhaness Nersesyan; Choir 3. With your Virgin Mother’s intercession (3:46) Deacon; Priest; Choir 4. Annunciation of the procession (1:53) Choir 5. Entrance Hymn (1:24) Deacon; Priest; Choir 6. Holy God (0:43) Choir 7. Pray for Peace (2:25) Deacon; Priest; Choir 8. Glory to You, God. Credo (7:37) Deacon; Priest; Choir 9. The body of the Lord (1:30) Deacon; Choir 10. Who is the Lord, our God (2:48) Choir; tenor solo 11. Again in Peace let us beseech the Lord (2:12) Deacon; Priest; Choir 12. Christ among us (0:59) Choir 13. Let us stand in awe (3:50) Deacon; Priest; Choir; tenor solo 14. Sanctus (4:33) Priest; Choir 15. Heavenly Father (1:19) Priest; Choir 16. O Lord, You are in all things blessed (1:23) Priest; Deacon; Choir 17. Son of God (1:07) Priest; Choir 18. Spirit of God (1:43) Choir 19.
    [Show full text]
  • Shoghaken Ensemble Music of Armenia Thursday, April 8, 2004, 8 Pm Wheeler Auditorium
    CAL PERFORMANCES PRESENTS Shoghaken Ensemble Music of Armenia Thursday, April 8, 2004, 8 pm Wheeler Auditorium Gevorg Dabaghyan, duduk, zurna Tigran Ambaryan, kamancha Aleksan Harutyunyan, vocals Hasmik Harutyunyan, vocals Karine Hovhannisyan, kanon Kamo Khatchaturian, dhol Grigor Takushian, duduk Levon Tevanyan, blul, shvi, tav shvi, pku This performance has been made possible, in part, by members of the Cal Performances Producers Circle. Cal Performances thanks the William and Flora Hewlett Foundation, The Wallace Foundation, and the Zellerbach Family Foundation for their generous support. C AL PERFORMANCES 1 PROGRAM PROGRAM NOTES PROGRAM Armenian folk music is one of the world’s cy to Central Asian and Middle Eastern musi- richest musical traditions, burgeoning with an cal instruments. Armenians’ cultural autono- Tsamerov Par extraordinary array of melodies and genres. my in the region was buttressed by theology Janoy Since the 1880s, ethnographers and musicolo- and literacy—they adopted Christianity in gists, most famously the Armenian priest 301 AD and an alphabet in 404, leading to an Shatakhi Dzernapar Komitas, have traveled to remote villages and extraordinary monastic culture that churned towns in Anatolia and the Caucasus collecting out countless manuscripts, many gloriously Karabakhi Horovel Armenian songs and dances. Currently, there illuminated, that preserved both the classical are over 30,000 catalogued in various archives, heritage (some original versions of Plato are Zangezuri Par each with rhythms and modes characteristic of only available in Armenian copies) and a Gorani both broad Near Eastern influence and partic- received Armenian tradition. The elaborate ular rituals and dialects not seen or heard modal music of the liturgy was theorized in Hovern Enkan beyond the next mountain pass.
    [Show full text]