Հայոց ցեղասպանության արձագանքները կոմպոզիտոր Արամ Սաթյանի ստեղծագործության մեջ

Abstract

Aram Satian addressed the issue of the Armenian Genocide in the 21st century by composing “Chinar es[Slim Like a Poplar]” for duduk and symphony orchestra, and “1915” for duduk, chamber orchestra and kettledrums. Both pieces feature the duduk as soloist. The composer intertwined in a masterly manner the timbre of the Armenian folk instrument with the sound of a symphony orchestra, in one case, and a chamber orchestra with kettledrums – in another. Incidentally, the composer had not shown any interest in duduk in his earlier works. Obviously, in the timbre dramaturgy of the composer, duduk associates with the Armenian Genocide, with the suffering and tragic pages in the history of the Armenian people. By concluding his “1915” with the intonations of “Hovareq [Cast a Shade]” (in our opinion, in the lyrics of the song, the ‘indifference’ of the mountains may be perceived as the lack of empathy the world communityhad shown toward the tragedy of Armenians), rather than with the lively intonations of “Yerkingnampel e [The Skies Are Overcast]”, communicating the idea of inventive and peaceful nature of the Armenian people, A. Satian must have had the presentiment of the 44-Day War of 2020, when the world once again remained unresponsive to the woes of Armenians. Therefore, we dedicate this article to the 44-Day Warheroes, the memories of whom will never fade.