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Thursday, January 2, 2020
Modulation Necklace, New Music from Armenia
Part of that is that the opening work "Quasi Harena Maris" by Artur Avanesov is tonal but not exactly obviously Armenian in sections of the first listen. With "Novelette" by Ashot Zohrabyan we recognize more of the sort of Armenian syntax we might expect, tempered surely with New Music elements.
And so it goes throughout this interesting collection, onwards to Michel Petrossian's "A Fiery Flame, a Flaming Fire" for piano trio with its sprawling in-and-out of time, stop-and-go, post Serialist diffusiveness conjoined with momentary traces of folkish elements.
A highlight is Artashes Kartalyan's "Tekeyan Triptych" for mezzo-soprano and string quartet. It is haunting, lyrical, rich in invention, at points notably minor-inflected.
Ashot Kartalyan's "Suite for Saxophone and Percussion" takes an idiomatic turn into the special qualities available in a duet of this sort. The soprano sax-percussion interaction is decidedly "jazzy" and nicely so. It is perhaps a bit dance-like as well.
And at the end Avanesov returns with himself at the solo piano for the seven part "Selected works from cycle 'Feux Follets.'" It has an Armenian rootedness at times in its declamatory style.
Taken altogether Modulation Necklace retains relevance and interest throughout. I recommend it for anyone interested in Armenian sounds and New Music from Middle Eastern-Eastern European avenues. It is a most stimulating set.