Au Théâtre Ledoux Jeudi 26 Novembre À 20H

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AU THÉÂTRE LEDOUX JEUDI 26 NOVEMBRE À 20H TIGRAN MOCKROOT TIGRAN MOCKROOT Piano,voix Tigran Hamasyan Basse Sam Minaie Batterie Arthur Hnatek Chant Gayané Movsisyan Mockroot Album sorti en janvier 2015 – Nonesuch Records / Warner Music Durée: 1h20 environ Nos programmes de salles sont en téléchargement sur www.les2scenes.fr Depuis ses tout débuts, Tigran Hamasyan semble être habité par l’idée d’ouvrir au maximum son spectre musical. Il n’a que 19 ans quand il se retrouve catapulté sur le devant de la scène en 2006 par sa victoire au prestigieux concours Thelonious Monk présidé par Herbie Hancock. Adoubé par la jazzosphère mondiale, le jeune Arménien s’est empressé d’éviter d’être « catalogué ». Après avoir crapahuté avec l’inévitable paire rythmique formée par les frères Moutin, Tigran s’est constitué en 2009 un groupe, un vrai, aux côtés de jeunes loups de la scène new-yorkaise membres de l’influent Kneebody comme le saxophoniste Ben Wendel ou le batteur Nate Wood. Baptisé Aratta Rebirth, le quintette payait autant son tribut à la musique traditionnelle arménienne qu’au métal labyrin- thique de Meshuggah ou au jazz fusion de Chick Corea. Trois ans plus tard, le garçon opérait encore une nouvelle mue. Sur son album A Fable, il se présentait dans le plus simple appareil: en duo avec son piano. Au menu, des éclats de pop minimaliste, des mélodies de sa patrie natale et des relectures habitées de standards tel Someday My Prince Will Come. Et nouveauté, Tigran donnait de la voix sur quelques pistes. Plébiscité aux quatre coins du monde, l’opus remporta une Victoire de la Musique. Avec Shadow Theater, le pianiste poursuit son entreprise de construction massive. Après avoir exploré l’univers des fables arméniennes, c’est dans une autre tradition, plus visuelle qu’orale, qu’il puise son inspiration. Ce Shadow Theater qui sert de titre de baptême au disque, il faut l’entendre comme une invitation à passer de l’autre côté du miroir, dans un monde imaginaire et onirique qui doit autant à Tim Burton qu’à la tradition du « théâtre d’ombres »: un art en apparence simple où des silhouettes s’animent par magie derrière une toile. Pour ce concert aux 2 Scènes, Tigran Hamasyan jouera son nouvel album, Mockroot, où se succèdent, parfois au sein d’un même titre, ballades sensuelles ou mélancoliques, beats lourds et hypnotiques, tourbillons frénétiques de notes chantantes, jazz fusion rock et douceur de voix célestes. Tigran fait chanter ses rythmiques complexes et les références mélodiques à son héritage arménien. Les impro- visations de son trio a géométrie variable rendent grâce à l’incroyable talent de compositeur et d’arrangeur du pianiste. La musique de Tigran Hamasyan est définitivement comme nulle autre, aussi immédiate qu’érudite, intense que chargée d’émotions. Les 2 Scènes, Scène nationale de Besançon est un établissement public de coopération culturelle subventionné par la Ville de Besançon, le ministère de la Culture et de la Communication – Direction régionale des affaires culturelles de Franche-Comté, la Région Franche-Comté et le département du Doubs et bénéficie du soutien du CNC, de l’ONDA et de la Sacem. Licences d’entrepreneur de spectacles: 1-1061735 1-1061736 2-1061737 3-1061738 © Les 2 Scènes | saison 15-16.

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22Nd Istanbul Jazz Festival Programme
22nd Istanbul Jazz Festival Programme The Festival Hosts Young Jazz Prodigy Tigran Hamasyan in Two Projects Tuesday, 30 June, 21:00, Hagia Eirene Museum Wednesday, 1 July, 19:00, Cemal Reşit Rey Concert Hall Young musical prodigy Tigran Hamasyan, born in Armenia in 1987, will be at the festival with two special concerts. Hamasyan started the piano when he was three and won the piano competitions of both the Montreux Jazz Festival and the Thelonious Monk Institiute when he was 18, the same age when he released his debut album World Passion. Then in 2011, he won the Victoires de la Musique, which is considered to be the French Grammy’s, with his album A Fable. The Guardian describes him as, “a multi-stylistic jazz virtuoso and a groove-powered hitmaker simultaneously.” Herbie Hancock has already told him, “You are my teacher now!” and Hancock is not alone in his admiration of the young musician, but rather joined by others like Brad Mehldau and Chick Corea. On Tuesday, 30 June, Tigran Hamasyan will render traditional Armenian music at the Hagia Eirene Museum, where he will be joined by the Yerevan State Chamber Music Choir, directed by Harutyun Topikyan, for his chamber choir project Luys i Luso. This project will be performed at a hundred different churches around the world and its album will be released under the title of ECM in September. Hamasyan will meet jazz-lovers a second time the next evening and this time it will be for a lilting and melodic concert with his trio at the Cemal Reşit Rey Concert Hall.
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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
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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Mercredi 9 Décembre / 20H30 / Pannonica / Concert À 21H Tarifs : Plein : 14€ / Réduit : 12€ / Abonné : 10€ / Très Réduit : 5€
Scéne jazz et musiques improvisées Pannonica Oct.15/janv.16 Tigran Hamasyan “mockrooT” Stereolux – Salle Maxi Jeudi 19 noveMbre 2015 9 RUE BASSE-PORTE 44000 NANTES-TALENSAC / WWW.PANNONICA.COM EN COUVERTURE: TIGRAN HAMASAYAN © MAEVE STAM édiTo après avoir fêté ses 20 ans comme il se doit, nantes jazz action/Pannonica entame cette nouvelle saison dans une configuration particulière. En effet, des travaux (changement du toit) sur le site nous amènent à organiser les concerts prévus salle Paul Fort dans d’autres lieux bien connus de la ville. nous nous retrouvons donc au lieu unique avec Hugh coltman et à Stereolux avec tigran Hamasyan, mais aussi à la Fabrique Bellevue-chantenay (ancien Olympic) pour une soirée autour de chlorine free et tribeqa. En passant, merci aux acteurs de nous recevoir. Les portes du Pannonica resteront ouvertes, afin de vous accueillir avec une programmation toujours aussi éclectique, alternant des rencontres au sommet (Sylvain cathala et Kamilya jubran, Soizic Lebrat, Isabelle Duthoit et les projets “the Bridge”) ; des découvertes (anne Quillier, le trio apache, Oxyd, le solo de Frantz Loriot.) ; des créations (anne Pacéo “circles”, the Sommes Ensemble, aquaserge Orchestra) ; un spécial “Groove” et des événements comme la venue du pianiste Fred Hersch ou ces deux soirées exceptionnelles pour débuter notre saison au club : la rencontre entre deux américains de classe mondiale, Uri caine et jeff Ballard avec deux musiciens français de premier plan qui creusent leur sillon, alain vankenhove et Sébastien Boisseau. Sans oublier, la venue d’un des grands poètes américains de la nébuleuse hip hop et du “Spoken word”, Mike Ladd, que nous pourrons croiser à deux reprises..
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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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Saryn Art and Science Journal 2 (27) 2020
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The Historical Overview of Post-Ottoman Musical Influences In
The Historical Overview of Post-Ottoman Musical Influences in Jazz since the 1950s and Armenian Jazz Bands in the New York Scene since 1975 Sopon Suwannakit Western Oregon University Abstract Hamasyan’s Armenian jazz has stretched jazz vocabularies in the past 10 years. He created new ways to interpret jazz standards and suggested new ways to treat jazz harmonic, melodic, and rhythmic language. It is worth investigating how this Armenian influence has been merging into jazz throughout the history. We would learn how ones did it in the past. We would learn how ones failed to do it in the past. And we would look at this research as a case study to learn how these adaptations of Armenian folk music can be applied to other musical nationalities. There are very few scholars who are dealing with this topic and there are not many articles regarding Armenian jazz out there. This research might be able to pave the way for other researchers to study how Armenian and post-Ottoman music be treated in the jazz context. Keywords: Armenia, Jazz, Post-Ottoman, Tigran Hamasyan, Taksim, Middle East The term “post-Ottoman” was used by Anahid Kassabian in in Jazz Worlds/World Jazz (2016). She argues that the geographical term “Middle East” might not accurately the countries that it should. Kassabian uses the term “post-Ottoman” to refer to all the countries governed by the Ottoman Empire. These countries share similar cultures. As an Armenian herself, the term “post-Ottoman” is culturally more accurate than the term “Middle East.”1 Throughout trials and errors, jazz musicians have been experimenting in several ways to combine the post-Ottoman music with jazz since as early as 1937.
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Tigran Hamasyan: »Luys I Luso«
KAUKASUS TIGRAN HAMASYAN: »LUYS I LUSO« 30. MÄRZ 2018 ELBPHILHARMONIE GROSSER SAAL Freitag, 30. März 2018 | 20 Uhr | Elbphilharmonie Großer Saal TIGRAN HAMASYAN PIANO NOYAYR KARTASHIAN DUDUK, BLUL, ZOURNA, PKU, PERCUSSION YEREVAN STATE CHAMBER CHOIR HARUTYUN TOPIKYAN MUSICAL DIRECTOR TEIL I Tigran Hamasyan & Noyayr Kartashian Pause TEIL II »Luys I Luso« Ankanim araji Qo / I kneel before You Ov Zarmanali / Oh Amazing Mystery Bazum en Qo gtutyunqd / Your mercy is boundless Sirt im Sasani / My heart is trembling Surb Astvats / Holy God Hayrapetakan Maghterg / Patriarchal Ode Nor Tsaghik / New Flower Havoun Havoun / The Bird was awake Voghormea indz Astvats / God, have mercy upon me! Ende gegen 21:45 Uhr 7339 BMW Story_of_Luxury_7er HH Elbphil 148x210 Programmheft 20171109.indd 1 15.11.17 09:58 WILLKOMMEN Der Kaukasus gehört zu den interessantesten und vielseitigsten Regionen der Welt – ethno grafisch, sprachlich, vor allem aber kulturell. Grund genug also, der Musik aus den Län dern Georgien, Armenien und Aserbaidschan ein eigenes Festival zu widmen. Im heutigen Konzert geht der international gefeierte Jazz pianist Tigran Hamasyan einem wichtigen Teil seiner musikalischen Identität nach: uralter armenischer Kirchenmusik, die teils aus dem MODERNE KULTUR IN 5. Jahrhundert stammt und die er aus unter EINZIGARTIGER GESTALT. schiedlichen Überlieferungen zusammen WARUM NICHT GEMEINSAM getragen hat. Mit dem Yerevan State Chamber DIE ZUKUNFT FORMEN? Choir weiß er ein hochklassiges und fest in juliusbaer.com der Tradition verankertes Vokalensemble an seiner Seite. PRINCIPAL SPONSOR Julius Bär ist Principal Sponsor der Elbphilharmonie Hamburg. Julius Bär ist die führende Private-Banking-Gruppe der Schweiz und weltweit an rund 50 Standorten präsent. Von Dubai, Genf, Guernsey, Hamburg, Hongkong, London, Lugano, Monaco, Montevideo, Moskau, Mumbai, Nassau, Singapur bis Zürich (Hauptsitz).
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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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