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final result is a “naturally distinctive and haunting work of considerable character.” 7 In addition, it represents the summation of the two main lines of his writing: the neo-folkloristic style and dramatic romanticism. 8 7 Robert Matthew-Walker, “Aram Khachaturian: A Centenary Tribute to an Armenian Master,” Musical Opinion (2003) http://search.proquest.com.libproxy.csun.edu/docview/1121069/fulltextPDF?source=fedsrch&accountid=7285 (accessed Oct. 12, 2011). 8 Svetlana Sarkisyan, “Khachaturian, Aram (Il’ich),” Oxford Music Online (2002) http://www.oxfordmusiconline.com.libproxy.csun.edu/subscriber/article/grove/music/14956?q=khachaturian&articl e_section=all&source=omo_gmo&pos=1&_start=1 (accessed Oct. 12, 2011). 2
The Life of Aram Khachaturian Aram Khachaturian was born on June 6, 1903 in Tiflis, the capital of Georgia. He is considered by some to be a central figure of 20 th century Armenian culture and, along with Prokofiev and Shostakovich, a pillar of the Soviet school of composition. 9 In Russia, he was considered one of the leading figures of Armenian music because he was successful in presenting a personal musical style mixed with both, popular and folk music, as well as classical forms. 10 Though his earlier music consisted of some nationalistic tendencies, it was not until 1939 when Khachaturian visited his homeland and became closely associated to Armenian, nationalistic music. Two major works followed his trip to Armenia; one was his ballet, Gayane, the other was his violin concerto. In 1922, Khachaturian enrolled in the Moscow University as a biology student. During this time, Georgia, which borders Armenia, had been brought under the protection of what came to be known as the USSR. In 1918, the Georgians craved independence. This rise of Georgian self-determination led to anti-Armenian feeling and millions of Armenians had been massacred by the Turks. Khachaturian, having Armenian ancestry, was put at a disadvantage. His last name ending with “ian” make it impossible to hide his ancestry, so for several years, he called himself Khachaturov. It was not until the mid-1930s, when the political troubles had been mostly resolved, that he went back to using his birth name of Khachaturian. During these years that immediately followed the Russian Revolution, it was far easier for students to be accepted into programs for higher education. Khachaturian applied to the Gnessin Music School in Moscow as a cello student, regardless of the fact that he had never 9 Robert Matthew-Walker, “Aram Khachaturian: A Centenary Tribute to an Armenian Master,” Musical Opinion (2003) http://search.proquest.com.libproxy.csun.edu/docview/1121069/fulltextPDF?source=fedsrch&accountid=7285 (accessed Oct. 12, 2011). 10 Stewart Spencer, Notes to Khachaturian, Concerto Pour Flüte et Orchestre, Germany 2292-45839-2. 3
Page 1 and 2: CALIFORNIA STATE UNIVERSITY, NORTHR
Page 3 and 4: Table of Contents Signature Page ii
Page 5 and 6: ABSTRACT A PERFORMANCE ANALYSIS OF
Page 7: Introduction to the Concerto for Vi
Page 11 and 12: The Music of Khachaturian Khachatur
Page 13 and 14: The Violin Concerto Transcribed for
Page 15 and 16: EXAMPLE 1 movement 3, mm. 782-786 V
Page 17 and 18: three, which lands up an octave abo
Page 19 and 20: This idea of leaving out notes to b
Page 21 and 22: Timbre The violin and the flute are
Page 23 and 24: Double Stops Double stops are argua
Page 25 and 26: in his arrangement of the concerto.
Page 27 and 28: In these situations, the flute play
Page 29 and 30: Violinists have the advantage of be
Page 31 and 32: Bibliography Ehrenburg, R.S.I., Kha
Page 33 and 34: APPENDIX 27
Page 35: Program Sonata in B minor George Fr

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