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Arno Babdajanian, Poem for Piano

Discussion in 'Submission Room' started by Anonymous, Jan 19, 2007.

  1. Anonymous

    Anonymous Guest

    This is Arno Babadjanian modern Poem for Piano.

    Regards
    Setrak

    Admin edit: Topic moved from 'Pianists' to 'Audition Room'.

    Arno Babadjanian - Poème
     
  2. robert

    robert New Member Piano Society Artist

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    A interesting composition and the first thing I get in my head is that Scriabin's poems might be one source of inspiration. Is it?

    Is Arno Babadjanian the composer of it? Never heard his name and if he is a living composer, we must be sure we do not get into a copyright issue (we need his acceptance, do you know him?).

    Anyway, it sounds well played and you make use of your abilities as a pianist handling the dynamics and "spices" in music very good.
     
  3. Anonymous

    Anonymous Guest

    Arno Harutyuni Babadjanian (1921-1983)

    BABADJANIAN, ARNO HARUTYUNI
    Arno Babadjanian was born in Yerevan, Armenia on 22 January 1921. His earliest musical influences came from his home. His father was an accomplished folk musician, capable of a variety of folk instruments. During childhood, Babadjanian witnessed the Westernisation of music in Armenia: with the creation of the Armenian Philharmonic and the Union of Armenian Composers was formed in 1932; the opening of the Opera Theatre in Yerevan in 1933; and the première of Arno Babadjanian’s Symphony No. 1 in 1934. Babadjanian’s first formal lessons were at the Yerevan Conservatory with Vardkes Talian (1896-1947). Talian instilled a sense of Armenian musical history in Babadjanian by insisting that his young student study the folk traditions of his country, in addition to the music of the great Armenian composer and ethnomusicologist, Vartabed Komitas (1869-1935).

    Babadjanian graduated from the Yerevan Conservatory in 1947, and entered the Moscow Conservatory a year later to study the piano with one of Russia’s great pianists, the legendary Konstantin Igumnov (1873-1948). A student of Alexander Siloti, Anton Arensky, Sergey Taneyev and Mikhail Ippolitov-Ivanov, Igumnov passed a musical tradition to Arno Babadjanian that few were lucky to experience. Under Igumnov’s guidance, Babadjanian studied Bach’s Well Tempered Clavier, Beethoven’s sonatas, Chopin’s piano works, and the works of the great Russian composers, Rachmaninov and Scriabin. These were formative years for Babadjanian, who, as a result of his God-given talents and rigorous schooling, became an extraordinary pianist. Concurrently with his studies at the Moscow Conservatory, Babadjanian studied composition with Heinrich Litinsky (1901-1985) at the House of Armenian culture in Moscow Litinsky was one of the most influential composer-teachers in the Soviet Union who contributed several important text-books on polyphony (Problems in Polyphony) (three volumes) and Imitation in Strict Counterpoint). He also taught over two hundred pupils, including Aleksandrov, Arutyunian, Khrennikov, Mirzoyan, and Peiko. In addition to being a brilliant teacher, he was an ethnomusicologist, who imbued his students with a love for their native folk-music. Babadjanian composed his expressive and powerful Polyphonic Piano Sonata in 1946 while studying with Litinsky.

    In 1950 Babadjanian returned to Armenia where he taught the piano at the Yerevan Conservatory (1950-56), and also gave concerts and composed. It is during this period that he wrote one of his most celebrated works, the Heroic Ballade for piano and orchestra (1950). This Romantic work is a series of picturesque symphonic variations rooted in Armenian folk-lore and pianistically close to the Rachmaninov’s keyboard style. Always aware of his national roots, Babadjanian collaborated with Arutyunian in 1950 and created another of his most popular works, the Armenian Rhapsody for two pianos.

    Babadjanian was not a prolific composer; he spent much of his time teaching and giving concerts. His extraordinary Piano Trio was competed in 1952 and was followed in 1954 by his orchestral Poem-Rhapsody. The Sonata for Violin and Piano was produced in 1959, followed by the Cello Concerto, which was written for and dedicated to Mstislav Rostropovich. Among his last compositions were the Six Pictures for Piano (1965), the Third String Quartet (1979) and the Nocturne for piano and symphonic jazz ensemble (1981). Arno Babadjanian died in Moscow on 15 November 1983.

    No problem for Copyright

    Regrds
    Setrak Setrakian
     
  4. techneut

    techneut Active Member Piano Society Artist

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    That looks like a very good bio, just like we want it. I will create the Babadjanian page tonight, using this text. Thanks very much for that, it saves me a lot of work !
    Unfortunately I can not listen to the Poeme until tonight (no mp3 access at work).
     
  5. Anonymous

    Anonymous Guest

    Setrakian, The Brain for Symphony Orchestra

    Dear Friends,

    Thank you for adding me in Composers page, I appreciate very much.

    As a composer, I am sending one of my Symphonic work mp3 recorded in studio, not live, with PDF score,

    Title is Setrakian, The Brain for Symphony Orchestra

    This piece is Dedicated to my wife Aida, on occasion of her brain surgery, and now sh'e paralyzed and can't walk,

    I hope you add it in my Composer page.

    Best wishes
    Setrak Setrakian
     
  6. techneut

    techneut Active Member Piano Society Artist

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    Regarding the Babadjanian biography: You wrote "No problem for copyright". But actually this is a carbon copy of the biography from the Naxos wesite, see http://www.naxos.com/composerinfo/49.htm.
    So I am not sure if we can just use this without any changes (as I rather hoped...).

    Regarding the 'Brain' composition:

    First, we are very sorry to hear about your wife's condition. You write she cannot walk but hopefully she is ok otherwise, physically and mentally ? I assume it was a brain tumor, has it been permanently removed ? If you are taking care of her, in addition to being such a great composer and pianist, you have our deepest respect and sympathy.

    I much admire this composition. It is not easy to grasp, and will need repeated listening, which I will certainly do. But even after one hearing, I love these dark and ominous sounds and the sometimes surrealistic quality of the music (which I also found in your etude). It is a shame it is compressed to 48kbps as it rather sounds like a midi recording (but it is recorded by an orchestra, right ?).

    To have this on the site will be a novelty, but I see no reason why not, as you are listed as a pianist. I think we should also make an exception for your midi etude recording, on the condition that you promise to give us a real acoustic recording one day. This should not be a great practical problem with quality portable MP3 recorders now being on the market for an affordable price.
     
  7. robert

    robert New Member Piano Society Artist

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    I am sorry for the situation with your wife and listening to the recording after I read it caught me quite a lot. Actually a bit scaring but very good and I will put it up on the site along with the score.
     

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