Musical Armenia

Unknown pages of Lazar Sarian 's Life and Creative work Based on his Letters from 1939-1940

2026-09-01T09:11:25+00:00

The rich epistolary heritage of Lazar Sarian provides a basis for a more detailed study of his biography and creative work, especially during the years of his formation as an individual and as a composer. The focus of our research is on his letters from 1939 to 1945, written during his studies at the Gnesin Music College in Moscow, his military service, and the last two years of the war. From the letters addressed to his father, the outstanding painter Martiros Sarian; his mother, a writer, educator, and enlightener, the daughter of Ghazaros Aghayan, Lusik Sarian; his aunt, Katarine Samartsian; and his uncle, Hovhannes Sarian, many interesting and important facts emerge about the formation of Lazar’s character and strong-willed temperament, as well as about his musical interests and compositions. The letters are written with a good command of the Armenian and Russian languages and are marked by sincerity and an unrestrained style. They are also filled with deep emotional feelings and longing when speaking of Armenia, the paternal home, and beloved and close people. The letters of these six years reveal a strong, purposeful, principled, and masculine young man, who in later years — already as the mature Lazar Martirosovich, a composer, rector of the Yerevan Komitas State Conservatory, and a public figure — would be known, loved, and respected by his many colleagues and students.

The “Ghazaros (Lazar) Saryan” Collection within the Main Holdings of the Martiros Saryan House-Museum

2026-09-01T09:37:29+00:00

The article is dedicated to the activity of the author's beloved father, Ghazaros (Lazar) Saryan, in his capacity as the President of the Union of Composers of Armenia, and from 1960 to 1986, as the Rector of Yerevan Komitas State Conservatory. It also explores a nearly unknown page of his biography: the fact that the emi- nent composer also assumed the position of the first director of the Martiros Sarian Museum. In this role, he undertook the responsibilities of building construction, organizing the exhibition, and developing the strategy for the future replenishment of the museum's funds. A handwritten list of the exhibition, compiled by Lazar Saryan, has been preserved; it includes the works that remain on display in the museum's halls to this day

“Tone Painting in the Symphonic Panel “Armenia” by Ghazaros (Lazar) Saryan”

2026-09-01T09:59:34+00:00

The article by composer, PhD in Arts, and Professor of Yerevan Komitas State Conservatory, Mikhail Kokzhayev, entitled "Tone Painting in the Symphonic Panel 'Armenia' by Ghazaros Saryan" (based on a presentation delivered at a conference dedicated to the composer's anniversary), is devoted to the phenomenon of ideoplastic interconnection between the four musical images - the movements of the monumental symphonic cycle by Ghazaros Saryan - and specific paintings by his father, artist Martiros Saryan. The author not only establishes a distinct imagery-based correspondence between the paintings of Martiros Saryan and their tone-painting analogues in the movements of Ghazaros Saryan 's symphonic work, but also reveals graphic similarities between fragments of the musical score and their pictorial counterparts. Delving into the constructive features of musical form, the author addresses the paradoxes of spatial proportions between individual local structures and the integrity of the overall composition, and attempts to identify the algorithms that determined the logic of cause-and-effect relationships within the musical process. Particular attention is also given to the intonational originality of Saryan's compositional style. In the concluding part of the article, three instances of graphic coincidence are demonstrated between pages of Ghazaros Saryan's score and the placement of details within the pictorial space of Martiros Saryan's paintings. The publication concludes with a reconstruction of the Temple of Garni in the graphic contours of musical notation, where Ghazaros Saryan, through the means of musical writing, recreated the outlines of the Temple of Garni. Musical symbols, having become "brushstrokes" (or rather points in the technique of pointillism - essentially common to both painters and composers), served as a medium for the embodiment of the artistic idea.

Ghazaros (Lazar) Saryan, Tigran Mansuryan’s beloved teacher

2026-09-29T11:01:23+00:00

The article discusses Ghazaros Saryan, an Armenian composer in the second half of the 20th century, and an educator whose professional class at the conservatory produced several composers. In 1960, at the age of 40, G. Saryan was appointed rector of the Conservatory, and the same year he established a specialized class of music composition. Tigran Mansuryan was among the first to enroll, becoming Saryan 's inaugural student. His time at the Conservatory under G. Saryan played a crucial role in Mansuryan's evolution as a composer. Interactions with Martiros Saryan, his family, and the vibrant cultural environment within the Master's home also profoundly shaped Mansuryan 's artistic development. This rich backdrop significantly contributed to the shaping of the young composer's intellectual and artistic identity. In 1964, while still a student, he entered the realm of film music. His two decades of productive collaboration with Hayfilm Studio facilitated encounters with notable directors such as S. Parajanov, H. Malyan, B. Hovhannisyan, and A. Mkrtchyan, among others. During the late 1960s, Mansuryan placed significant emphasis on the sonata genre, marking a dramatic shift towards the influences of the Western European avant-garde. The author highlights specific works developed under the guidance of G. Saryan.

"Beyond the Genre: Saryan 's Passacaglia and New Horizons in Polyphony"

2026-09-29T11:20:44+00:00

The article examines Ghazaros Saryan's "Passacaglia", which stands as a unique manifestation of the genre within Armenian music. Unlike classical and modern passacaglias, which are built on the principle of a repeating basso line and variations, Saryan reinterprets the genre and form by abandoning the traditional principle. The work is characterized by its distinctive texture and counterpoint of polyphonic layers. The article explores the circumstances of its creation, as well as its musical style - intonation, compositional techniques, and genre-specific approaches - all of which highlight Saryan's innovative perception within the context of 20th-century music.

From the History of the Current Building of the Yerevan Komitas State Conservatory Russian

2026-09-29T11:32:07+00:00

Հոդվածում անդրադարձ է կատարվել Երևանի Կոմիտասի անվան պետական կոնսերվատորիայի շենքի կառուցման պատմությանը։ Արխիվային նյութերը վկայում են Կոնսերվատորիա հիմնելու անհրաժեշտության մասին։ Անցյալ դարասկզբին, նորաստեղծ Հայաստանի Հանրապետության համար օրհասական ժամանակահատվածում ընդունվել են կառավարական որոշումներ՝ կարևորելով կրթության, գիտության ու մշակույթի զարգացումը։ Հոդվածում ուշագրավ զուգահեռներ են տարվում Կոնսերվատորիայի շենքի ներկայիս հիմնանորոգման և ավելի քան հիսուն տարի առաջ, կառուցման ընթացքում առաջացած օբյեկտիվ և սուբյեկտիվ խնդիրների։ Անդրադարձ է կատարվում նաև պետական հոգածության և մեկենասության հանդեպ տասնամյակների ընթացքում գրեթե անփոփոխ մտայնությանը։
Կոնսերվատորիան երկար տարիներ ղեկավարած ռեկտորի՝ Ղազարոս Սարյանի կյանքն ու գործը ազնիվ արվեստագետի և հմուտ ղեկավարի բացառիկ օրինակ է, և մեր պարտքն է ոչ միայն պահել ու պահպանել, այլև բազմապատկել այն անգնահատելի ժառանգությունը, որ ստացել ենք մարդկային ամենավեհ արժեքները կրող մեր Վարպետից։

Ghazaros (Lazar) Saryan in Letters

2026-09-29T11:56:52+00:00

The article is dedicated to the published letters of Ghazaros Saryan, written mainly from the battlefields of the Great Patriotic War, as well as in later periods to relatives, colleagues, and famous artists living in various countries. They are not numerous, characterized by concise composition but with a broad scope of content. At first glance, it may seem that the author addresses only personal issues in the letters. However, their substantive and emotional context is very deep and extensive. Here, in an unconstrained manner, the author's life, future aspirations, desires, and dreams are manifested and revealed. These letters, although personal, are for the most part patriotic and often universal in nature. There are confessions here that help to more accurately value the weight and scale of the work he performed. The collection of letters multidimensionally reveals the profound, kind-hearted intellectual living with social concerns, who constantly thinks about being useful to people.

Ghazaros Saryan’s “Andante and Presto” as a sum of his creative path

2026-09-29T12:15:39+00:00

Andante and Presto for violin and orchestra represents a distinctive synthesis of Ghazaros Sarian's artistic evolution, marking the completion of his creative journey. The composition integrates, in a highly concentrated and generalized manner, the defining characteristics of the author's individual intonational language, the principles underlying the generation and development of musical material, and the structural logic of formal organization. The integration of these compositional parameters within a single work imparts to it the quality of an internally coherent artistic whole. In this way, the piece can be seen as the best example of Sarian's compositional style, as it shows the most significant aspects of his musical thinking and creative process.

Saryan connections

2026-09-29T12:22:20+00:00

Musicologist, Founder-Editor-in-chief journal “Musical Armenia” Gohar Karlen Shagoyan. - “Saryan connections”.
This article is written, first and foremost, as a tribute of respect and memory to the renowned artist Ghazaros (Lazar) Saryan and his family, who represent an exceptional generation of intellectuals within the Armenian reality, as well as the author's personal interactions with them. The author highlights the profound heritage of the great Saryan dynasty, noting that the atmosphere of their home and interactions with them as artists brought about a distinct realization that one was standing in the very heart of Yerevan, if not of the Armenian Homeland itself. Ghazaros (Lazar) Saryan is presented both as a prominent conservatory rector and as a true exemplar of humanity. Furthermore, the article reflects on the author's collaborative experiences with Araksi Saryan and Sophia Saryan during the compilation of two special jubilee editions of the journal "Musical Armenia " dedicated to Saryan 's landmark anniversaries (his 85th anniversary in 2005 and his 90th anniversary in 2010), a warm relationship with the latter that continues to this day.

The role and significance of the State Symphony Orchestra of Armenia in the interpretation and popularization of the work of Lazar Saryan

2026-09-29T12:30:56+00:00

The article presents the role and significance of the Armenian State Symphony Orchestra in the interpretation, popularization, and preservation of the works of Professor Lazar Saryan (1920-1998), People's Artist of the USSR, a distinguished representative of the Saryan and Aghayan families, a talented composer of the Armenian "Mighty Five," educator, musician and public figure, Chairman of the Union of Composers of Armenia, Rector of the Yerevan Komitas State Conservatory. Although L. Saryan's works were frequently performed during the Soviet period, they gained a new artistic life in the years of the independence of the Republic of Armenia through the efforts of conductor Sergey Smbatyan, Honored Artist of the Republic of Armenia, PhD in Arts, and the Youth Orchestra he founded in Yerevan-the first youth orchestra of its kind in Armenian musical practice. Since 2018, the ensemble has operated as the Armenian State Symphony Orchestra, with Sergey Smbatyan serving as Artistic Director and Principal Conductor, and Sargis Balbabyan, PhD in Arts, serving as Director (since 2017). The aim of this article is to present the first comprehensive study of the contribution of the Armenian State Symphony Orchestra and Sergey Smbatyan to the interpretation, popularization, and preservation of the works of Lazar Saryan. The study demonstrates that these efforts have been carried out in the following areas: organizing the first festival of Armenian composers' music, Saryan-Fest; including the composer's works in the programs of leading international music festivals and concerts; interpreting and recording these works with the participation of the Armenian State Symphony Orchestra, internationally renowned orchestras, and soloists; and establishing the Lazar Saryan String Quartet.

Dedicated to the 105th Anniversary of the Birth of Arno Babajanian

2026-09-29T14:00:37+00:00

The author of this article outlines the creative output of the distinguished composer Arno Babajanian, presenting him as one of the eminent pianists of the modern era. The paper characterizes Babajanian 's development as a student of K. N. Igumnov and highlights D. Shostakovich 's commentary on Babajanian 's Trio. Furthermore, the author notes how Aram Khachaturian, along with the prominent poet Yeghishe Charents, who served as the publisher of Babajanian's earliest opuses, both foresaw the composer's brilliant future. The article describes Babajanian's foundational studies under V. Talyan at YSC and his subsequent education at the MSC. Finally, the author examines various works across multiple genres that earned the composer prestigious state awards.

Pages from the History of the Creative Collaboration between Arno Babajanian and Alexander Harutyunyan

2026-10-01T11:27:33+00:00

Alexander Harutyunyan and Arno Babajanian, both People’s Artists of the USSR, were close friends from preschool age until the latter’s untimely death. These two outstanding musicians, who left a deep mark on the path of development of Armenian classical, as well as Estrada music, together created works of various genres: “Song of the Attacker Squad” dedicated to the Great Patriotic War (early 1940s); Candidate for the State Anthem of the Armenian SSR (1944, lyrics by Sarmen), which has come down to us in a number of versions and was soon published with new lyrics as a festival ode to Stalin; “Armenian Rhapsody” for two pianos (1950); “Festive” for two pianos and percussion (1960). Some publications present another composition as their joint work: that is the Dance for two pianos, written by Babajanian in 1942, performed frequently during that decade yet preserved just in a couple of draft fragments. The present article comprises the available historical data on all these works to the extent possible. In addition, two musical materials are published here for the first time: a draft version of the 1944 Anthem and the two fragments attributed the 1942 Dance. In addition to their compositional collaboration, Babajanyan and Harutyunyan frequently performed as a piano duo, the repertoire of which contained more than their own works. Pasted text

Art as a Superstructure

2026-09-30T07:14:17+00:00

This article is the continuation of the eponymous study by the prominent aesthete and musicologist Arshak Adamyan (originally written in 1952 and partially published in the journal "Musical Armenia," No. 2 (47), 2014, p. 37). In its time, this work was rejected for publication due to the prolonged persecution directed against the great scholar. The transcribed manuscript was preserved for a long period within the personal archive of V. V. Sargsyan. Published here are the second, third, and concluding chapters of the study.

The Architecture of Music

2026-10-01T11:18:46+00:00

Composer, teacher at the P. I. Tchaikovsky Secondary Specialized Music School Anna Omik Simonyan. - "The Architecture of Music ".
This article employs ancient Armenian music to demonstrate a method for exploring the distinctive internal structure of Armenian melodies. The methodology is based on well-established architectural principles along with music theory concepts developed by Komitas. It allows one to identify the unique architectural characteristics inherent in Armenian music. The author draws parallels between musical and architectural concepts, supported by music examples and the analytical notions introduced by Komitas. Consequently, it can be concluded that melodies form lines, with their main tones resembling the supporting columns in architecture. According to Komitas' terminology, those are the first and fourth notes of a tetrachord, while the seamless progression of sounds connecting these main tones resembles the lines of a drawing. The article further explores the concepts of internal gravity within the ancient Armenian eight-mode system (Utdzain). The author also explains the reason for the scales being called dzayn (authentic mode) and koghm (plagal mode). Consequently, the author concludes that ancient civilizations possessed a distinct musical theory, where musical notations and letters were assigned numerical values and were meticulously organized. Pasted text

“Bibliography of Folk Musical Instruments of Armenia", compiled by Anahit Kirakosyan

2026-10-01T11:38:58+00:00

In this book review, the author provides an overview of the extensive, meticulously executed work carried out by Anahit Kirakosyan. The volume serves as an excellent foundational resource for anyone conducting research in the field of Armenian traditional folk musical instruments. It enables researchers to navigate virtually the entire corpus of published literature on the subject, saving an immense amount of time and effort during the source-gathering stage. The compiled references encompass monographs, essays, scientific and journalistic articles, linguistic and encyclopedic dictionaries, conference proceedings, various scholarly studies, and papers presenting diverse perspectives on Armenian folk instrumentation. Furthermore, it contains educational curricula, instructional manuals, and articles dedicated to individual performers, performance techniques, and master instrument makers.