Like the
preceeding collection, The Music of Armenia,
Volume Three: Duduk, this volume features both an instrument and a
collection of works that occupy a middle ground between folk and classical
music. Like the duduk reed
instrument, the kanon's place in
Armenian music is broadly defined. Traditionally used by folk singers to
accompany their song, now, the kanon
is taught in the music conservatories of Armenia with the same rigor and care
as the violin or piano. Its repertoire includes ancient epic songs, folk
dances, arrangement of sacred chants, and composed works that reflect the
Western or Arabic classical traditions. It seems like the instrument was first
used as accompaniment to minstrel songs or to the recitation of epic poetry;
but the versatility of the modern instrument enabled some of the more curious
and virtuosic kanon players of
the 20th century to draw freely from the full range of Armenian music.
Many of
the pieces recorded here by Karineh Hovhanessian are simply instrumental
transcriptions of what were originally vocal works. Some of them are from the ashugh tradition, referring to the
troubadour poet–musicians who wandered through Armenia from
the 17th century through the 19th.
The
following tracks offer a sampling of Karineh Hovhannessian's diversity with the
kanon: Eshkhemed (track 11) has a bittersweet quality reminiscent
of some Irish or medieval European troubadour music. Tokat (track 15),
a surprising arrangement for solo kanon by Karineh Hovhanessian is a
swirling harp–like fantasy that brings to mind the watery Impressionism
of Debussy. Otar-amai champeki vra
(track 16) is a moody musical landscape for kanon
and duduk drones.
The
Artists
Karineh
Hovhanessian, who leads the ensemble on this recording, is one of the most
famous kanon players in Armenia.
The kanon—a type of zither
is actually considered a classical instrument She is a teacher and a renowned
performer. Along with the duduk
virtuoso Gevorg Dabagian, the featured artist on volume three in this series,
Karineh Hovhanessian is a member of the Shoghaken Folk Ensemble, which is
featured on the fifth volume in The Music of
Armenia series. Like Dabagian, her solo repertoire includes both
unaccompanied works and small emsemble pieces.
The
remainder of the ensemble on this volume consists of the same accompanying
musicians used by Gebory Dabagian in The
Music of Armenia, Volume Three: Duduk. Kamo Khachaturian
plays the dhol, a barrel shaped
drum that is usually played with the hands, although for certain dances a pair
of sticks can be used instead. Eduard Harutunian and Grigor Takushian both play
the duduk drones. The drone is
maintained constantly by using the technique of circular breathing continuing
to force air through the reed while inhaling through the nose. All three
accompanying musicians are also members of the Shoghaken Folk Ensemble.
