a performance analysis of the khachaturian flute concerto - CSUN ...
a performance analysis of the khachaturian flute concerto - CSUN ...
a performance analysis of the khachaturian flute concerto - CSUN ...
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The Music <strong>of</strong> Khachaturian<br />
Khachaturian was <strong>the</strong> first composer to place Armenian music in an international context.<br />
He created a new aes<strong>the</strong>tic by syn<strong>the</strong>sizing <strong>the</strong> musical achievements <strong>of</strong> his age with Armenian<br />
traditions. These traditions included peasant song, urban instrumental folklore, and <strong>the</strong> art <strong>of</strong> <strong>the</strong><br />
ashugh, an ornamental style <strong>of</strong> medieval monody. These folk trends were influential for <strong>the</strong><br />
development <strong>of</strong> certain attributes, including improvisation, virtuosity, metrical and rhythmic<br />
variation, poly<strong>the</strong>maticism, and use <strong>of</strong> monologue in his three instrumental <strong>concerto</strong>s. He would<br />
also create rhythmic excitement using <strong>the</strong> relationship between meter and rhythm, by accenting<br />
certain groups <strong>of</strong> notes, ei<strong>the</strong>r periodically or spontaneously. One critic remarked upon <strong>the</strong><br />
metaphoric qualities within his instrumental <strong>concerto</strong>s, stating that <strong>the</strong> Violin Concerto “has <strong>the</strong><br />
freshness <strong>of</strong> <strong>the</strong> morning,” <strong>the</strong> Piano Concerto “<strong>the</strong> burning rays <strong>of</strong> <strong>the</strong> midday sun,” and <strong>the</strong><br />
Cello Concerto, “<strong>the</strong> dusky light <strong>of</strong> sunset.” 12<br />
Unlike his sonatas, Khachaturian’s <strong>concerto</strong>s are very extroverted, almost like<br />
rhapsodies. His <strong>concerto</strong>s consist <strong>of</strong> two main idiomatic features. One is <strong>the</strong> direct use <strong>of</strong><br />
variation technique and form, and <strong>the</strong> o<strong>the</strong>r is <strong>the</strong> free-treatment <strong>of</strong> sonata, or o<strong>the</strong>r multi-<br />
movement forms, which demonstrate contrast. His melodies are <strong>of</strong>ten developed from old<br />
Armenian rhetoric and hymnal tunes and he has also employed many dance melodies as a basis<br />
for driving, rhythmic writing. His use <strong>of</strong> folklore sources, namely <strong>of</strong> <strong>the</strong> ashugh tradition, had an<br />
impact on rhythmic diversity. 13<br />
12 Svetlana Sarkisyan, “Khachaturian, Aram (Il’ich),” Oxford Music Online (2002)<br />
http://www.oxfordmusiconline.com.libproxy.csun.edu/subscriber/article/grove/music/14956?q=<strong>khachaturian</strong>&articl<br />
e_section=all&source=omo_gmo&pos=1&_start=1 (accessed Oct. 12, 2011).<br />
13 Svetlana Sarkisyan, “Khachaturian, Aram (Il’ich),” Oxford Music Online (2002)<br />
http://www.oxfordmusiconline.com.libproxy.csun.edu/subscriber/article/grove/music/14956?q=<strong>khachaturian</strong>&articl<br />
e_section=all&source=omo_gmo&pos=1&_start=1 (accessed Oct. 12, 2011).<br />
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