This really could have been a collectors item! Music from the Caucasus, performed by an Armenian Orchestra, led by a renowned ethnic-Armenian conductor from Iran. Who better to present these folk-inspired works from this ancient crossroads? Loris Tjeknavorian may not be a household name, but he has built a very successful worldwide career over several decades in both the USSR/Russia and the West…. ByMatteoD
Despite no doubt dedicated performances, this recording of Khachaturian's Piano Concerto, Sonatina, and Toccata are distinctly disappointing. Part of the responsibility for this is pianist Alberto Portugheis, who plays with plenty of panache but not enough power and nowhere near enough precision. Part of the responsibility is conductor Loris Tjeknavorian, who leads the London Symphony Orchestra in a tepid accompaniment to the Piano Concerto with especially grave ensemble and intonation problems in the slow movement. Part of the responsibility is AVS, which gives Portugheis, Tjeknavorian, and the LSO distant and dismal recorded sound. But most of the responsibility is the incontrovertible fact that William Kapell recorded the Khachaturian Piano Concerto at the height of his powers and, after that awesome achievement, any merely dedicated performance cannot help but sound distinctly disappointing.
When the majority of flute concertos are lightweight, it is not surprising that leading flautists are keen to expand the repertory, adapting more ambitious works. That is how, on the suggestion of the composer himself, Jean-Pierre Rampal in 1968 came to prepare a brilliant transcription of Khachaturian’s Violin Concerto recorded here by Emmanuel Pahud. A soft-grained flute could hardly cut through orchestral textures in the concert-hall in the way a violin can, but on disc careful balancing without focusing on the solo instrument too aggressively has produced a successful result.
Symphony No. 2 "The Bell" is a 1993 ASV recording starring the Armenian Philharmonic Orchestra under the direction of Loris Tjeknavorian. Robert Mathew-Walker has written the music notes. One can definitely hear the influences from Stravinsky. The pace is right on the mark and one feels that Tjeknavorian understands Khachaturian's music. A very recording indeed.
Spartacus has all the color and brash, brazen energy of Gayaneh, and is molded in the same, folk-like, flowing idiom but doesn't always steer clear of banality. Still there are lots of memorably ideas and exciting twists and turns, culminating, perhaps, in the famous Adagio with its poignant tune. Yet the ballet - at least the three suites here (I haven't honestly heard more) - is inventive enough and sufficiently imaginatively scored to keep one's attention throughout.
Sometimes there is a perfect match between repertoire, conductor, and orchestra: this album is one such example. Featuring the music from two ballets by Armenian composer Aram Khachaturian, it is very accessible to those who claim they do not like classical music, as its 20th century tonalities and film score-like qualities completely draw the listener in. The first track is dramatic and grand, worthy of a gladiator like Spartacus, and it leads into an adagio that is ethereal with cellos and harps.
Anyone that knows the music of Khachaturian will not be surprised to hear that his music on this CD, conducted by countryman Loris Tjeknavorian and the Armenian Philharmonic Orchestra, is full throated and exciting. What is equally excellent is the suite of dances from Tjeknavorian's own music that accompanies the Khachaturian on this disk.
Khachaturian trio was founded as trio “Arsika” in 1999. It has toured extensively throughout the USA, Central and South America, Switzerland, United Kingdom, Germany, Austria, China, Bulgaria, Czech Republic, Australia, Moldova, Georgia, Lithuania, Latvia, Russia and Armenia. …
A unique complete collection released for the first time in Los Angeles, California, the Hamazkayin Music Committee is proud to present the works of Aram Khachaturian who was the first composer to place Armenian music on the international podium. By blending his individual creativity with distinctive features common to West European art forms, the style of medieval monophony, Armenian folkloric traditions, the art of ashughs, and the purism of artistic expression of the great Komitas, Khachaturian created a new aesthetic dimension in the art of music…