“Different peoples’ perception, assessment and admiration led to the conviction that Khachaturian’s music is truly universal.”
Today was the turn of those five out of thirteen participants who came from ten countries to participate in the Aram Khachaturian 11th international music competition, performed at Aram Khachaturyan house-museum: Kim Yokung (Korea), Kamishikiryo Ayko (Japan), David Ardukhanyan (Russia), Frappier Pierre (France), Ani Parsadanyan (Armenia).
Culture.AM had an exclusive interview with the chairman of the Jury,People’s Artist of Armenia, Laureate of Armenian State Award, professor of Yerevan State Conservatory after Komitas Eduard Tadevosyan.
- Is there any difference in the way Aram Khachaturian’s music is played by Armenian or foreign musicians?
– In my opinion, yes, because here we have to deal with Armenian gene that certainly shows off…
- What do you think about participants?
- Thirteen participants passed into the semifinal stage. The competition is on the highest level generally, but the impression is not definite in terms of interpreting participant’s professionalism, capabilities or musicality. As for the performers’ skills, I always think, that it’s no use to say that this performance is good and that one is bad. It might be that certain performance manner is closer to me and the other one is not really. Also, there are 6-7 people in the committee and therefore it’s natural to have so many opinions on these different performing aspects.
- Is it difficult to make choice?
- Of course, it is.
- Here, at the competition, all participants must perform Aram Khachaturian’s music but what about later? Do you think this music will find its place further on participants’ set list?
- They learn to play Khachaturian’s works and not only the smaller pieces that were performed at the first round, but they also should perform Violin concerto in the final. When one learns and then plays the music on the stage, I think this shouldn’t be the first and then last time. That’s exactly the aim of our competition, to propagate Khachaturian’s music so that it’s performed on many other stages.
- What do you think the participants, in general, become familiar to Khachaturian’s music due to the competition or they knew it before?
– In my opinion this generation is not much aware. Our generation and the one before us who lived during the Aram Khachaturian time were different, as we often played and listened his works. Nowadays, unfortunately, neither Khachaturian’s works, nor the ones of Prokofyev or Shostakovich are performed that often as it was before.
- In the Soviet period Khachaturian was famous, today his name is like a visit card of Armenian music in the word. Yet, in spite of this, is there any need to promote him?
- No doubt… There was no need to promote his music in the Soviet period, as because his works were often performed, and this was already a promotion of its kind. But in the Post-Soviet period things got complicated and in the best-case scenario works of modern composers were performed. People got used to the fact that they should be paid for performing, but what if composer died, who was to pay then? And this refers not only to Aram Khachaturian. Yes, now there is need of better publicity.
- Khachaturian’s works revolve around folk music and at the same time it’s so universal. Is it also because of the power of his talent, what do you think?
- For fifty or so years I have performed Aram Khachaturian’s Violin Concerto on different stages worldwide (I also played for him on his 60th anniversary when he was sitting in the hall), and peoples’ different perception, assessment and admiration led to the conviction that his art is truly universal.
Interview by Armine Sargsyan (Culture.AM)
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