Martun Israjeljan

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Martun Israjeljan ( Armenian Մարտուն Հովհաննեսի Իսրայելյան , Martun Howhannessi Israjeljan ; Russian Мартуник Оганесович Исраелян , Martunik Oganessowitsch Israjeljan , scientific. Transliteration Martunik Oganesovič Israeljan ; notation also Israelyan or Israyelyan , first name also Martown or Martin * 25. March 1938 in Leninakan, now Gyumri ) is an Armenian composer .

Life

At the Kara-Mursa music school in Gyumri, he first learned to play the Kamantsche and then took lessons in music theory and composition . After teaching at a music school in Artik (1962–1964), he moved to the Komitas Conservatory in Yerevan in 1964 , where he studied composition with Grigor Jeghiasarjan until his graduation in 1969 . He made his first works as a student, and his music for symphony orchestra received an award in the 1969 All Union competition for young composers in Moscow . In the same year he became a member of the Armenian Composers Association. After that, he taught from 1969 to 1981 harmony at the Babadschanjan -Musikfachschule in Yerevan. From 1981 he taught orchestration and composition at the Conservatory , from 1986 as a lecturer, from 1997 as professor and from 1998 to 2001 as head of the composition department. In 1992 he became deputy director of the Armenian Composers Union. On his 75th birthday in 2013, a concert took place in the Aram Khachaturian Concert Hall in Yerevan, at which his violin concerto , his autumn songs after Vahan Teryan and his symphony were performed. His students included u. a. Artun Markosjan and Jirayr Shahrimanyan.

Create

Israjeljan wrote orchestral, chamber, vocal and piano music. In the 1960s, he oriented himself towards Pierre Boulez and the Polish school. His early works, including Contrasts (1967) and Septett (1973), are in the tradition of Anton Webern and the Second Viennese School . At the Caucasian Spring in 1975 he appeared with a symphonic work. Since then, his compositions have also been performed internationally, not only in 1989 at the New Beginnings Festival in the Soviet Union , but also at the Days of Armenian Music in Prague and at the Rencontres Internationales de Musique Contemporaine in Metz . For his vocal works he put texts from Armenian literature a . a. by Misag Medzarents , Daniel Waruschan and Gregor von Narek .

Stylistically, he combines influences from Armenian dance and Caucasian folk music with contemporary European composition techniques. He also resorts to sharakans , medieval chants that are characterized by religious symbolism. Israjeljan is one of those composers who try to reconnect with old poetic intonations , forms and contents of Armenian music . His musical language is described as polystylistic . His works are characterized by a “fine sense of sound” and “oriental imagery”. Together with colleagues from his generation like Tigran Mansurjan and Aschot Sohrabjan, Israjeljan shapes the special sound of contemporary Armenian music.

Works (selection)

orchestra

  • Contrasts , 1966-67
  • Music for symphony orchestra , 1969/75
  • Symphony (text: Misag Medzarents ), mezzo-soprano, large orchestra, 1981
  • Capriccio , small orchestra (17 musicians), 1982
  • Concerto for chamber orchestra (flute, 2 oboes, 2 horns, piano, 16 strings), 1982/83
  • Concerto , cello and 16 strings, 1983
  • Concerto , violin and 16 strings, 1986
  • Anthem No. 1 , small orchestra (17 musicians), 1989
  • Hymns (Fiat lux) , 13 instruments and drums, 1989

Chamber music

  • String Quartet , 1966
  • Septet , flute, oboe, clarinet, violin, viola, cello, piano, 1973
  • Sonata No. 1 , cello, piano, 1976
  • Sonata No. 2 , cello, piano, 1986
  • String Quartet , 1991
  • Sonata No. 3 , cello, piano, 1994
  • Sonata , violin, piano, 2001

Vocal music

  • Book of Tagher (songs), album No. 1 (text: Gregor von Narek ), mezzo-soprano, flute, clarinet, percussion, 1971
  • Book of Tagher (Songs), Album No. 2 (Text: Misag Medzarents), soprano, piano, 1974
  • Book of Sonnets (Text: Henrik Edoyan), soprano, small orchestra (flute, oboe, 2 horns, piano, percussion, 14 strings), 1980
  • Book of Evening Songs (Text: Misag Medzarents), soprano, piano, 1983
  • Hatsin erg - Bread Song , oratorio (text: Daniel Waruschan ), soprano, tenor, mixed choir, large orchestra, 1985–2006
  • Autumnal Songs (lyrics: Vahan Teryan), mezzo-soprano, orchestra, 1986
  • Four Songs (lyrics: Misag Medzarents), soprano, 22 strings, 2003
  • Songs of love and sadness (lyrics: Vahan Teryan), mixed choir, 2007-08

piano

  • Sonatina , 1965
  • Anthem No. 2 , 1995

literature

Web links

Individual evidence

  1. a b biography on: dic.academic (Russian)
  2. a b c d Svetlana Sarkisyan:  Israyelyan, Israeljan, Martun (Hovhanesi). In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 9 (Himmel - Kelz). Bärenreiter / Metzler, Kassel et al. 2003, ISBN 3-7618-1119-5  ( online edition , subscription required for full access)
  3. Svetlana Sarkisyan:  Israelyan, Martun. In: Grove Music Online (English; subscription required).
  4. Concert for the 75th birthday in Yerevan at: apo.finagent (English)
  5. Shahrimanyan on: Music of Armenia (English)
  6. a b c d Martun Israeljan . In: Hermann Danuser, Hannelore Gerlach, Jürgen Köchel (eds.): Soviet music in the light of perestroika . Laaber, Laaber 1990, ISBN 3-89007-120-1 , pp. 348-349 .
  7. Cynthia Kay Wolverton: The contribution of Armenian composers . University of North Texas, 2002, pp. 48–49 (English, 87 pp., Unt.edu [PDF; accessed on November 5, 2019]).
  8. Martun Israelyan in: The Living Composers Project (English)
  9. Tatjana Porwoll: Oscillations of the Cosmos. Contemporary music from Armenia. In: Music Texts 32. 1989, accessed on 24 November 2019 .
  10. Margarita Rukhkyan: The Cognition of Traditions: Mutual Ties. In: www.terterian.org. Retrieved November 23, 2019 .
  11. a b Mikhail Kokschajew: The Armenian Music Today. A description of the state. In: terterian.org. June 15, 2002, accessed November 24, 2019 .
  12. ^ Levon Hakobian: Music of the Soviet Era: 1917-1991 . 2nd Edition. Routledge, London, New York 2017, ISBN 978-1-4724-7108-6 , pp. 305 ff . (English).