Komitas is the founder of Armenian national school of musical composition. He freed Armenian music from foreign influences and was the first to prove the Armenian nation have its own music. Being a profound expert of national music, Komitas created an original synthesis of Armenian monodic (one-voice) thinking and European polyphony that has endured to the present. He collected and wrote down thousands of folksongs, studied church and folk music considering them to be “siblings”. Komitas also made a research of Armenian khazes (symbols used in the old Armenian system of musical notation), and authored Patarag (Liturgy) of the Armenian Church.
Unfortunately, the prolific way of consciousness and creativity of the brilliant composer was short. Komitas shared the fate of his compatriots during the Genocide of 1915. He was appallingly shocked by the tragic events, which subsequently fatally affected his mental condition.
Today, in the year of the great classicist’s 135th anniversary, we can boldly say, “Komitas arrived from the depths of the centuries-old history of life and spiritual culture of the Armenian nation and soared up, his face towards its new developments.”
This museum was opened this year (2015), this is the largest museum in the composer Komitas.
Records of Komitas songs that had been
transmitted orally through the generations.
https://www.youtube.com/watch?v=7s3Dn1o8oyY&feature=youtu.be
This was one of his works,
song about a quail
small bird.
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Este museu foi inaugurado este ano ( 2015 ) , este é o maior museu do compositor Komitas.
Registros das músicas Komitas que tinham sido
transmitidos oralmente através das gerações.
transmitidos oralmente através das gerações.
https://www.youtube.com/watch?v=7s3Dn1o8oyY&feature=youtu.be
Este foi um de seus trabalhos,
canção sobre uma codorniz
canção sobre uma codorniz
pequena ave.
WRITERS ABOUT KOMITAS
In all of the Armenian history there is no other cultural figure that would be the image to which almost all the poets of the 20th century turned.
Poets of all styles and directions wrote about Komitas throughout the century. There are both small couplets and long poems – legends about his life and music.
The first significant work about Komitas in the 20th century Armenian literature is Eghishe Charents’s ode-poem to Komitas.
In 1936 Vardapet’s ashes were transported to Yerevan and he was buried in the pantheon. Charents finished this sensitive, bright and impressive literary work under the fresh impressions of those days. The highest stanzas are devoted to the perpetual return of Vardapet.
Around the same period another great Armenian poet Paruyr Sevak, while a student, makes his first attempts to turn to the legendary figure of Komitas. In 1949 Sevak wrote the poem “Two more decades”, dedicated to the 80th anniversary of Vardapet. In 1956 he creates a verse, which later on becomes the epigraph to the renowned “The Ever-ringing Belfry”. In 1959, 10 years after his first attempt, Paruyr Sevak created this masterpiece, which is still considered the best story about Komitas.
The translation of the “The Ever-ringing Belfry” was made by Harold Registan in 1982. According to the translator, the poem’s architecture is very complex. It is divided into 6 large parts, which in their turn are subdivided into chapters with peculiar rhythm and highlighted separate lines.
No doubt the most vivid part is the beginning.
Komitas’s academic years in Berlin are poetically depicted in the “Toll of the sunset”.
“The Toll of the Genocide” is the strongest and largest part in Sevak’s poem. It is the embodiment of the national theme of the dreadful genocide.
“The Toll of Obscurity” narrates about Komitas’s illness after the exile.
And the last part is the optimistic finale of the tragedy called “Pacifying Echo”. Here the image of Komitas is personified in the contemplations of the author. Here he is resurrected and returned to his people, to his land… The toll of pacification puts an end to this monumental literary work.
In 1969 “Hayastan” (“Armenia”) publishing house release a collection of poems devoted to Komitas – “Garun a” (“It is spring”). It was a collection of 45 poets.
Along with the works written after Vardapet’s death, the collection also contained poems of his contemporaries – those of them who actually saw him and talked to him; for example, Azat Vshtuni’s poem “To Komitas” written in 1917, or “Komitas Vardapet” of the western Armenian poet Vahan Tekeyan written in the form of an ode. Two poems of Gurgen Maari are also published here: “A song to Komitas” (1927) and “Komitas” (1932). The first one is in the form of a lullaby for Komitas’s songs, and the second one is the expression of the author’s feelings in the form of a prayer to the ill, fading genius.
Sarmen’s two poems are written in the form of a short epic narration.
The first one was written in 1932 and dedicated to the bright lyric of Komitas. The second one – “At Komitas’s grave” (1963) is an epitaph covered with light sorrow and faith.
The song lyrics “In memory of Komitas” of Sheram, written right after Vardapet’s death – on October 26, 1935 – deserves a special historic attention.
The following works belong to a bit later period: Amo Sagian, Silva Kaputikian, Vahagn Davtian, Mari Atamachian (Armachian), Ashot Grashi, Martiros Vesper, Aram Kotikian, Agavni, Mikael Arutyunian, Artashes Poghosian, Vahagn Karents, Atanes Senal, Garik Bandurian, Ludwig Durian, Vahagn Dakesian, Zhirayr Avetian, Vachagan Oganesian, Alec Khachunts, and many others…
One of the largest latest works devoted to Komitas is Levon Miridjanian’s poem “The shepherd of the song”.
Like Sevak, consistently revealing the historical events of Vardapet’s life, Miridjanian divided his narration into chapters with symbolic names. Each verse is dedicated to various life aspects of the musician, and each of them starts with the same words: “the flock was drawing to the mountains…”. The emotional coloring of the verses changes depending on the contextual stanza.
fonte: @edisonmariotti #edisonmariotti http://www.komitas.am/eng/writers_about_k.htm
colaboração:
Agapi Yeganyan
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Կոմիտաս... Հայ երաժշտական արվեստի կարկառուն ներկայացուցիչ, անմահ երախտավոր, որի անվան հետ է կապված հայ երաժշտության պատմության մի ամբողջ դարաշրջան։ Երգահան, բանահավաք, ազգագրագետ, երաժշտագետ, երգիչ, խմբավար, սրնգահար, մանկավարժ. բեղուն է եղել նրա գործունեությունը:
Կոմիտասը հայ ազգային կոմպոզիտորական դպրոցի հիմնադիրն է։ Նա մաքրեց հայ երաժշտությունն օտարամուտ տարրերից և ապացուցեց ողջ աշխարհին, որ հայն ունի ինքնուրույն երաժշտություն։ Լինելով հայ երաժշտության մեծ գիտակ` Կոմիտասը ստեղծեց հայ ազգային մոնոդիկ (միաձայն) մտածողության և եվրոպական բազմաձայնության ինքնատիպ սինթեզ։ Նա հավաքեց ու գրի առավ հազարավոր ժողովրդական երգեր, ուսումնասիրեց եկեղեցական և ժողովրդական երաժշտությունը` համարելով դրանք «քույր-եղբայր»։ Կոմիտասը զբաղվեց Նաև խազերի (հայկական նոտագրության) ուսումնասիրությամբ, ստեղծեց Պատարագ։
Ցավոք, հանճարեղ երաժշտի գիտակցական ու ստեղծագործական բեղմնավոր ուղին կարճատև եղավ։ Կոմիտասին վիճակվեց կիսել հայ ժողովրդի ողբերգական ճակատագիրը. իր բազմահազար հայրենակիցների հետ նա էլ «նահատակվեց» 1915 թվականի Եղեռնի ժամանակ` հոգեկան խոշոր ցնցումներից կորցնելով հոգու և մտքի հավասարակշռությունը։
Այսօր, երբ լրանում է հայ մեծ դասականի 144-ամյակը, կարող ենք իրավամբ ասել. «Կոմիտասն եկավ հայ ժողովրդի կյանքի ու հոգևոր մշակույթի բազմադարյան պատմության խորքերից ու վեր խոյացավ` երեսը դարձրած դեպի նրա զարգացման նոր ու հեռասլաց ուղիները»։
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