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Arménie/Armenia, BENIK ABOVIAN & ZAVEN AZIBEKIAN, Musiciens Du Couverture (1 & 4) 27/06/06 14:58 Page 1 INEDIT Maison des Cultures du Monde Arménie BENIK ABOVIAN & ZAVEN AZIBEKIAN Musiciens traditionnels du Tavush Armenia BENIK ABOVIAN & ZAVEN AZIBEKIAN Traditional musicians from Tavush W 260106 INEDIT/Maison des Cultures du Monde • 101, Bd Raspail 75006 Paris France • tél. 01 45 44 72 30 • fax 01 45 44 76 60 • www.mcm.asso.fr Benik Abovian, zurna • Zaven Azibekian, duduk, sring, zurna Kamo Nazarian, duduk & zurna (dam) • Albert Harutyunian, dhol Pavel Zalinian, zurna & Martik Amirkhanian, dhol (n°13 & 17) 11. Cinq mélodies & danses / Five tunes & dances (zurna/dam/dhol) 12. Suite de trois mélodies / Suite of three tunes (duduk/dam/dhol) 13. B’lbuli Hit (sring/dam duduk) 14. Guyovn yev Par (zurna/dhol) 15. Hey, kanatsh sarer (sring solo) 16. Vorskan akhper (duduk/dam) 17. Zurny trenguy (duduk/dam/dhol) 18. Tsaghik asem – Shoror (zurna/dam/dhol) 19. Tagh Khorhurd (sring solo) 10. Matshkales, Hayots aghjikner, Trabisontsineri Par (sring/dam duduk/dhol) 11. Me Khosk Unim (duduk/dam) 12. Arandz Yari (duduk/dam) 13. Duel de zurna / Zurna duel (2 zurna/dhol) 14. Tagh Havik (sring solo) 15. Vardani Mor Vorbe (duduk/dam) 16. Gyumrva Par (duduk/dam/dhol) 17. Cinq mélodies & danses / Five tunes & dances (zurna/dam/dhol) Collection fondée par Françoise Gründ et dirigée par Pierre Bois Enregistrements réalisés le 9 août 2001 à Kirants et le 10 août 2001 à Noyemberian par Nicolas Berger. Notice, sélection des plages, Antoine Chaudagne avec le concours d’Artashes Hovhannisyan. Traduction anglaise, Frank Kane. Photos, Antoine Chaudagne. Prémastérisation, Frédéric Marin (Cinram - Alcyon Musique). Réalisation, Pierre Bois. © et Op 2002 Maison des Cultures du Monde. INEDIT est une marque déposée de la Maison des Cultures du Monde (dir. Chérif Khaznadar). Arménie BENIK ABOVIAN & ZAVEN AZIBEKIAN Musiciens traditionnels du Tavush De par la situation géographique de l’Arménie légié des grands rassemblements populaires : et l’histoire cosmopolite du Caucase, la mariages, fêtes, enterrements… musique populaire arménienne fait partie des Les musiciens populaires arméniens revendi- musiques moyen-orientales. Elle s’est toute- quent aujourd’hui cet héritage multiple, qui fois constitué une identité très caractéristique, s’est considérablement enrichi au cours des fruit de l’histoire atypique de ce peuple. XIXe et XXe siècles. Du fait des bouleverse- Tout au long de son histoire, la musique armé- ments contemporains, notamment le géno- nienne s’est nourrie des traditions rurales et cide de 1915 qui a particulièrement affecté le pastorales, des monodies religieuses médiéva- tissu social arménien, mais aussi la politique les et de l’art citadin des bardes, les gusan. Il d’urbanisation de l’Arménie Soviétique, la en est résulté une musique généreuse, diverse musique populaire qu’elle soit rurale ou cita- et pleine de tempérament qui constitue dine est aujourd’hui perpétuée par les musi- encore aujourd’hui l’accompagnement privi- ciens villageois. L’apport des prêtres savants du Haut Moyen-Âge La transformation politique et culturelle autres, l'invention en 404 de l’alphabet majeure qu’a connu l’Arménie lors de l’a- arménien qui allait servir de socle littéraire à doption du christianisme au IVe siècle, a eu la langue vernaculaire, l’ashkharapar. Mesrop des effets spectaculaires sur la musique armé- Mashtots pose les bases de la musique litur- nienne. De grands auteurs médiévaux, à la gique arménienne en composant les pre- fois prêtres, philosophes, poètes, musiciens miers chants monodiques, dont le “chant de mais aussi théoriciens, ont apporté aux repentance”. La personnalité la plus fasci- monodies spirituelles, les tagh, et aux chants nante de cette époque reste le mystique Gri- religieux, les sharakan, un niveau de lyrisme gor Narekatsi (951-1003), prêtre au et de dramaturgie inégalé. Le fondateur de monastère de Narek près du lac de Van. Son cette lignée de grands intellectuels est sans Livre des chants tragiques, œuvre visionnaire doute Mesrop Mashtots, à qui l'on doit, entre et violente, constituera le point culminant –3– de la créativité musicale religieuse en même en un recueil appelé Sharaknots. Si on lui doit temps qu’un tournant important dans l’his- une classification des différents genres musi- toire et la philosophie arméniennes. Nare- caux de l’époque, tagh, gandz, hordarak, katsi a largement contribué à fixer les règles meghedi ou srbasatsutyun, Nerces Shenorhali modales des tagh. Le tournant du millénaire fut surtout le premier à intégrer aux chants voit aussi prospérer les manrusumn, mélodies monodiques des motifs populaires d’origine composées sur les huit modes traditionnels païenne empruntés aux traditions orales. grégoriens. À partir de cette époque, les théoriciens et Le Catholicos Nerces IV (1112-1173), plus musiciens vont reconsidérer à juste titre l’ex- connu sous le nom de Nerces Shenorhali le traordinaire patrimoine musical rural, prêtant “Gracieux”, a considérablement enrichi les une attention particulière aux compositions sharakan, chantés au cours de chaque fête reli- satiriques, les srish, ainsi qu’aux chants gieuse, dont le corpus intégral a été rassemblé épiques des troubadours caucasiens. L’art des troubadours : les gusan et les ashugh De la fin du Moyen-Âge jusqu’au XVIIIe siècle, provisation, tant musicale que chantée, et la musique populaire est profondément mar- signaient généralement leur poème en men- quée par la tradition des gusan, ces fameux tionnant leur nom à la fin du dernier couplet. troubadours caucasiens dont la figure princi- Les plus grands furent souvent musiciens de pale est Harutiun Sayatian, dit Sayat Nova cour attachés aux différents royaumes du (1712 ?-1795). Tous les musiciens arméniens Caucase. Sayat Nova, qui passa une grande considèrent les gusan comme leurs maîtres à partie de sa vie à Tiflis (aujourd’hui Tbilissi), penser, et tout musicien qui se respecte le grand centre intellectuel du Caucase, conserve chez lui un portrait peint ou sculpté chantait la fraternité des peuples du Caucase de Sayat Nova. et composait ses poèmes chantés en armé- Les gusan œuvrèrent au développement de la nien, en géorgien, en perse et en turc. À cet musique citadine, explorant les espaces délais- égard, l’art des gusan est fortement empreint sés par la religion : l’amour romantique, la du cosmopolitisme caucasien, ce qui se philosophie, l’épopée et la poésie lyrique. caractérise notamment par une forte Dans la tradition des bardes médiévaux, l’art influence orientale depuis les XIIe-XIIIe siècles. des gusan se transmettait de maître à élève par Et si le système modal arménien s’inscrit à un enseignement oral long et individuel. Les l’évidence dans l’espace musical persan, c’est gusan excellaient particulièrement dans l’im- surtout dans la ligne mélodique et le style –4– vocal que l’on trouvera la marque d’une spé- privilégiait la poésie à la musique et était cificité arménienne. beaucoup plus extraverti que celui des gusan. Si Sayat Nova reste la référence obligée, deux Enfin, l’instrumentarium se limitait aux gusan plus récents peuvent être considérés instruments à cordes, saz et târ, alors que les comme les pères du chant populaire arménien gusan utilisaient aussi des instruments à vent. contemporain : Sheram (1857-1938) et Dji- Le mot gusan, typiquement arménien, désigna vani (1846-1909). Leurs compositions sont dès le début de l’ère chrétienne les bardes qui aujourd’hui jouées dans la plupart des fêtes chantaient les légendes arméniennes, notam- arméniennes, en particulier lors des mariages. ment celle de Mouranée (mère des Arméniens) Ashugh ou gusan ? Cette question divise les et de son fils Gisane, dont le mot gusan est experts. Au XVIIe et XVIIIe siècles, le mot gusan dérivé. Le mot ashugh vient de l’arabe ‘ashiq que fut remplacé par celui d’ashugh, même s’ils l’on peut traduire par “amant” ou “passionné” recouvrent sensiblement la même réalité. et qui recouvre un sens mystique très fort. Ce Selon Robert Atayan 1, l’art oriental des ashugh terme désigne également les bardes turcs. Les évolutions contemporaines La musique populaire dite “urbaine” a inspiré effectué un immense travail de recensement une vague de compositeurs contemporains des mélodies et chants arméniens, comparable comme Vatshe Hovsepian (1925-1978), Artem à celui mené par Béla Bartók sur le patrimoine Mejinian (1916-1999), Tsovak Hambardzu- hongrois. Il a permis de sauver de l’oubli de mian (1923-2001), également réputé pour ses nombreuses traditions musicales rurales, œuvres chorégraphiques, ou Nicol Galande- parmi lesquelles les horhovel, chants de rian (1881-1944), qui composa des chansons labours, ou les chants pastoraux du Shora- sur les poèmes de grands écrivains comme H. guial, région de Kars et Igdir (aujourd’hui en Tumanian ou V. Terian. Turquie orientale) ; sillonnant en particulier Mais dans le domaine de l’exploration et de les gouvernorats (vilayet) arméniens de l’em- l’exploitation des traditions, Komitas (de son pire ottoman, il put également travailler sur le vrai nom Soghomon Soghomonian, 1869- spectre entier des musiques rurales et autres 1935) reste une figure essentielle de la traditions orales : aussi bien les chants de musique arménienne. Archimandrite, compo- mariage, d’enterrement et autres rituels, que siteur, folkloriste et musicologue, Komitas a les oror, berceuses populaires, ou les pandoukht, 1. Cf. "Armenia" in The New Grove Dictionary of Music vol. 19 pp. 334-348, Londres, 1980. –5– chants nostalgiques des émigrants de la Après une première période de fédération diaspora arménienne 2. autoritaire de tous les peuples autour d’une Lui-même rescapé du génocide qui démarre conception commune de la vie, intégrant en avril 1915, Komitas lègue de nombreuses les aspects culturels, l’URSS est rapidement compositions en souvenir des massacres, des rattrapée par la réalité des nationalismes et survivants et des sans-abris. Deux recueils de développe dans chaque région une poli- chants folkloriques dont il composa les arran- tique de mise en valeur des spécificités et gements sont devenus des classiques de la folklores nationaux.
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