Մարտիրոս Սարյանի «Գիսաստղը»

The series by Martiros Sarian "Tales and Dreams" fully corresponds to the art of the young generation of Russian Symbolism in terms of subject matter, pictorial language and aesthetic views. In the work of the artist of this period, there are “wandering” characters from one painting to another, recurring themes paving the way for various interpretations, and mysterious paintings. Such is "Comet", created in 1907. The key to the symbolism of this work is the semantic analysis of the characters of the gazelle and the one-eyed figure, which are central to the composition. Some notes by Sarian and comparisons with the symbolistic thinking of that time allow us to conclude that the gazelle bears a symbol of the Nature as a Creator, and the one-eyed hero is a Poet owning universal knowledge. The basis of "Comet" by Martiros Sarian is an inextricable link between Nature and Human being, it expresses the artist's love and respect for nature and, at the same time, faith in man.

Աղասի Այվազյանը՝ նկարիչ

The Armenian writer, publicist, scriptwriter, playwrighter, film director, painter Aghasi Ayvazyan created about 150 paintings and 40 graphic works, whose origin is man per se – with his or her merits and demerits, with the created environment balancing on the verge of the conscious and subconscious (“My Crucifixion”, “My Time”, “Judah”, “The Father of the Family”, and others). In his allegoric, symbolistic, surrealistic, cubistic images and views, Ayvazyan expressed what one can hardly find in his literary legacy: scream, protest, exhausting reality and, of course, freedom.

Превратности таланта: Дмитрий Налбандян

The article is dedicated to the study of celebrated Soviet painter Dmitry Nalbandian’s creative life and pictorial heritage. The author highlights master’s interest in subject matter and genre preferences, analyses the peculiarities of his image thinking and pictorial style, emphasizes public recognition of painter’s art.

Творчество городского архитектора Нахичевани-На-Дону Н. Н. Дурбаха

City architect N.N. Durbah worked at the turn of the 19-20 centuries in Nakhichevan on Don. His creations are an example of contribution of the graduates of Imperial Academy of Arts to architectural and urban development of provincial cities of the Russian Empire. He was a native of Nakhichevan-on-Don and he clearly understood wishes and preferences of customers, urban needs. He has formed holistic appearance of Nakhichevan-on-Don. Market buildings and city theatre, Mariinsky City Hospital, few educational institutions, mansions of wealthy citizens have been built at this period. N.N. Durbah formed central squares, laid Alexandr’s the Second square.The article considers contribution of N.N. Durbah to architecture of Nakhichevan-on-Don and analysis of his creative method.

Интерпретации «Хайтармы» А. Спендиаряна в творчестве современных исполнителей республики Татарстан

This article presents two musical arrangements of "Haytarma" from A. Spendiaryan's suite "Crimean Sketches" (part 1), performed by Kazan musicians and composers - R.E. Ilyasov for the "Kazan Nury" folk instrument orchestra and R.Yu. Abyazov for the "La Primavera" string chamber orchestra. A brief historical information about the work of A. Spendiaryan connected with the Crimean Tatar music is given. Also presented is material about the peculiarities of the Crimean Tatar folk dance "haitarma", about its different musical variants. This work will be useful to a wide range of professional musicians, as well as researchers of the Crimean Tatar folk music.

Жанр парафраза в балете

Партитура балета «Маскарад» создана Эдгаром Оганесяном на основе музыки Арама Хачатуряна к драматическим спектаклям «Маскарад» М.Ю. Лермонтова, «Лермонтов» Б. Лавренева и темы сонаты-монолога для виолончели solo. «Маскарад» ‒ это балет-парафраз, базирующийся на театральной музыке, прикрепленной преимущественно к драме «Маскарад». При сопоставлении драмы Лермонтова и партитуры балета выявляется идентичность построения развития действия по принципу «кумулятивной сказки»; основной художественный прием – это многократный повтор одних и тех же действий или элементов, пока созданная таким способом цепь не прервется. Даже при поверхностном прочтении драмы «Маскарад» можно выявить лейтмотив – это предмет и слово, обозначающее этот предмет – «браслет». Вся пьеса содержит 56 выходов, из которых в 26-и выходах действие стимулируется «браслетом» и вращается вокруг него. В балете же мотив «браслета» заменяет «Вальс», из которого вытекает все построение музыкальной композиции и музыкальной драматургии балета. Остальные музыкальные фрагменты определяются по отношению к «Вальсу». Он же является носителем нескольких смысловых функций.

Մկրտիչ Թաշճյան. Տաղանդավոր դերասանը, բեմադրիչը, նկարիչը

Mkrtich Tashchian in 1917 settled in Tavris and soon he gathered almost all the leading forces of the local theatrical movement. He used new methods as in the actor play, so in the producer art and, in fact, in theArmenian theatre of Iran he had the same mission, as Ovi Sevoumian and Arshack Bourjalian in the East Armenian one. This artist, who was gifted by generous talants, by the same generosity gifted his talants to his collaborators, promoting the getting of the Armenian theatrical movement of Iran.

Հայոց ցեղասպանության արձագանքները կոմպոզիտոր Արամ Սաթյանի ստեղծագործության մեջ

Aram Satyan addressed the issue of the Armenian Genocide in the 21st century by composing “Chinar es[Slim Like a Poplar]” for duduk and symphony orchestra, and “1915” for duduk, chamber orchestra and kettledrums. Both pieces feature the duduk as soloist. The composer intertwined in a masterly manner the timbre of the Armenian folk instrument with the sound of a symphony orchestra, in one case, and a chamber orchestra with kettledrums – in another. Incidentally, the composer had not shown any interest in duduk in his earlier works. Obviously, in the timbre dramaturgy of the composer, duduk associates with the Armenian Genocide, with the suffering and tragic pages in the history of the Armenian people.By concluding his “1915” with the intonations of “Hovareq [Cast a Shade]” (in our opinion, in the lyrics of the song, the ‘indifference’ of the mountains may be perceived as the lack of empathy the world communityhad shown toward the tragedy ofArmenians), rather than with the lively intonations of “Yerkingnampel e [The Skies Are Overcast]”, communicating the idea of inventive and peaceful nature of the Armenian people, A. Satyan must have had the presentiment of the 44-Day War of 2020, when the world once again remained unresponsive to the woes of Armenians. Therefore, we dedicate this article to the 44-Day Warheroes, the memories of whom will never fade.

Ազգային մշակույթի պահապանը. Պետրոս Ալահայտոյան

The article tells about the life and work of an important figure of Armenian national music Betros Alahaidoyan: musicologist, ethnographer, conductor and publicist. A pupil of Barseg Kanachian and specializing in musicology in Europe, he then worked for Brussels State Radio. On the 70th anniversary of the Genocide and the 50th anniversary of Komitas' death, he decided that it is time to do important work for the Armenian nation. Since 1985, leaving his permanent job and place of residence, Alahaidoyan traveled to Armenian communities, nursing homes in Europe, Eastern countries, the USA and made very important documentary and ethnographic records. A huge amount of material containing 430 compact cassettes and 125 reel-to-reel tapes are now in NAS RA Institute of Art, Department of Folk Music: in the audio archive named after Aram Kocharyan. With great love and pride, we undertake to study the material and publish musical and ethnographic collections.

Ալ. Սպենդիարյանի «Ալմաստ» օպերայի լիբրետոն և Հովհ. Թումանյանի «Թմկաբերդի առումը» պոեմը

Alexander Spendiarian was touched by the poem The Taking of Tmkaberd, which examines the problem of the eternal struggle between good and evil.The idea of the immortality of the best human deed, and the condemnation of betrayal, coming from time immemorial and also existing in the sacred Christian books, touched both Tumanian and Spendiarian. Although Tumanian was unable to write the libretto for the opera Almast due to extreme business, he inspired the composer orally. The author of the libretto Sofia Parnok, while writing it, was familiar with the historical image of Nadir Shah and with the Russian translations of the works by Hovhannes Tumanyan. The opera Almast includes excerpts that Parnok borrowed from the poem Anush. Tigran Hakhumian, the Armenian translator of the opera libretto, while translating it from the Russian text, remained close to the language and style of Tumanian. The personage of the woman betraying the hero of the opera “Almast"” and of the poem “The Taking of Tmkaberd” is a wandering plot; it is also present in the folklore and literature of other peoples. Both Tumanian and Spendiarian were inspired by the fact that the traitor was punished by the unforgettable stigma of his black deed for centuries.