Arno Babadjanian

(1921 - 1983)

Бабаджанян. Ноктюрн - Микаэл Айрапетян - фортепиано
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Бабаджанян. Грезы - Микаэл Айрапетян - фортепиано
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Бабаджанян. Вагаршапатский танец - Микаэл Айрапетян - фортепиано
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Бабаджанян. Прелюдия - Микаэл Айрапетян - фортепиано
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Бабаджанян. Элегия - Микаэл Айрапетян - фортепиано
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Babajanyan's art, which is strongly connected with the traditions of Russian and Armenian music, became a significant phenomenon in Soviet music. The composer was born in a family of teachers: his father taught mathematics, and his mother-Russian. In his youth, Babajanyan received a comprehensive musical education.

 

He studied first at the Yerevan Conservatory in the composition class of S. Barkhudaryan and V. Talyan, then moved to Moscow, where he graduated from the Music school. Here his teachers were E. Gnesina (piano) and V. Shebalin (composition). In 1947. Babajanyan graduated from the faculty of composition of the Yerevan Conservatory, and in 1948 — from the Moscow Conservatory in the piano Class of K. Igumnov. At the same time, he perfected the composition Of G. Litinsky in the Studio at the House of culture of the Armenian SSR in Moscow. From 1950 Babajanyan taught piano at the Yerevan Conservatory, and in 1956 he moved to Moscow, where he devoted himself entirely to composing music.

Babajanyan's compositional personality was influenced by the works Of p. Tchaikovsky, S. Rachmaninov, A. Khachaturian, as well as the classics of Armenian music-Komitas, A. Spendiarov. From the Russian and Armenian classical traditions Babajanyan absorbed what most corresponded to his own sense of the world: romantic elation, open emotionality, pathos, drama, lyrical poetry, colorfulness.

Compositions of the 50s — "Heroic ballad" for piano and orchestra (1950), piano Trio (1952) - are distinguished by emotional generosity of expression, cantilevered melody of wide breathing, juicy and fresh harmonic colors. In the 60 — 70s, Babajanyan's creative handwriting marked a turn to a new imagery, new expressive means. The works of these years are distinguished by restraint of emotional expression, psychological depth. The former song-romance cantilena was replaced by the melody of an expressive monologue, tense speech intonations. These features are characteristic of the cello Concerto (1962), the Third Quartet dedicated to the memory of Shostakovich (1976). Babajanyan organically combines new compositional techniques with ethnically colored intonation.

Babajanyan-a pianist, a bright interpreter of his works, as well as works of world classics: R. Schumann, F. Chopin, S. Rachmaninoff, S. Prokofiev-won special recognition. D. Shostakovich called him a great pianist, a performer of a large scale. It is not by chance that piano music occupies an important place in Babajanyan's work. Vividly beginning in the 40s with "Vagarshapat dance", a Polyphonic Sonata, the composer created a number of later" repertory "works (Prelude, Capriccio, "Reflections", Poem, Six paintings). For piano and orchestra written and one of the last compositions — "Dreams" ("Memories", 1982).

Babajanyan is an original and multifaceted artist. A significant part of his work he devoted to the song that brought him the greatest fame. Babajanyan's songs attract a keen sense of modernity, optimistic perception of life, open, confidential manner of addressing the listener, bright and generous melodism. The wide popularity of "Moscow At night", "don't rush", "Best city in the world", "Memory", "Wedding", "Insight", "Call me", "Ferris wheel", etc. a Lot of successful composer has worked in film, pop music, musical theater genres. He created the musical "Baghdasar divorces his wife", music for the films "in search of the addressee", "first love Song", "Bride from the North", "in the mountains my heart" , etc. the Success and wide recognition of Babajanyan's work is not just his happy fate. He had a true talent for communicating with the public, was able to cause a direct and strong emotional Response, without dividing the audience into fans of serious or light music.

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