Of all the monotheistic religions and denominations, the Eastern Orthodox Church tends to get the short end of the stick. They’ve been and presently are being harassed by other groups, but before that their music and culture has usually been ignored. Being Greek Orthodox myself, I have an in bred affinity for music (and not to mention food) from the Eastern Mediterranean and Near East. The agonizing minor chords are as penetrating as Orthodox Judaism and much more serious than the major chords and other worldliness of the Catholic and Anglican churches. The earth tones of the paintings feel more “real” than the bright works of Protestant and Catholic as well, and when it comes to the bread and wine, NOTHING comes close to the rich bread and pungent wine of the Orthodox, leaving the matzo& Manischewitz or the wafer dipped in the dust. And forget about the grape juice with saltines!
OK, now I feel better.
What we have here are two sides of the melding of Armenian music with modern jazz thoughts. One album takes you to the village, the other to church.
Director Levon Eskenian brings together an ensemble that dedicates itself to the legendary composer/priest/philosopher/singer Komitas Vardapet (1865-1935). The nine piece team brings in traditional instruments such as the oud, duduk, santur and zuma in a variety of settings and makes you feel like you’re in a mountainous farm village.
Most of the songs are concise melodies, mixing breathy woodwinds and chiming stringed instruments like the harpsichord-influenced santur, or bouzouki-related kamanca on the ethereal “Zulo” and the liturgical and meditative sounds on “ Gutane Hats Em Berum”.”Cantoral reeds pray together on “:Tsaghik Asem, Mani Asem” and a calling reed teams with a ruminating drum on “Het U Araj Of Karin.”Vladimjir Papikyan’s voice mixes folk with priestly incantations on the deeply spiritual “Hov Arek.” All that’s missing is some feta cheese and a demitasse cup of kafe.
Pianist Tigran Hamasyan delves into The Great Armenian Songbook as he explores hymns from the last 1400 years, give or take a century. The Yerevan State Chamber Choir, conducted by Harutyan Topikyan takes you to the sound and feel of a timeless monestary, yet with the added influence of Hamasyan’s piano which brings modern tones and melody into the mix . So, you get things like a gentle improvised piano solo that trickles like a stream before the deep and sonorous voices take you to another world on “Bazum En Qo Gtutyunqd” or the angelic female sounds on “Havoun Havoun.” A prepared piano that sounds a bit rickety takes you to an intimate meld of male and female voices that glow like candles under an icon on “Nor Tsaghik” and deeply penetrating piano chords wind you down a narrow corridor where priestly incantations are recited on the incense fragrant “Surb Astvats.” This is music that is both timeless and eternal.
This ensemble is coming to UCLA Dec 5. Don’t miss it!
ECM Records