Review of Hov Arek Sarer Jan by Komitas Wikipedia

Ottoman Armenian composer and religious figure

Komitas Vardapet
Կոմիտաս
Komitas in 1901[1] or 1902[2]
Born	Soghomon Soghomonian 8 October [O.South. 26 September] 1869 Kütahya, Ottoman Empire
Died	22 October 1935(1935-10-22) (aged 66) Paris, French republic
Resting place	Komitas Pantheon
Nationality	Armenian
Pedagogy	Gevorgian Seminary Frederick William University
Occupation	Musicologist, composer, choirmaster
Years agile	1891–1915
Website	komitasmuseum.am
Signature

Soghomon Soghomonian,^[A] ordained and commonly known every bit Komitas,^[B] (Armenian: Կոմիտաս; 8 October [O.Southward. 26 September] 1869 – 22 October 1935) was an Armenian priest, musicologist, composer, arranger, singer, and choirmaster, who is considered the founder of the Armenian national school of music.^{[four] [seven]} He is recognized equally one of the pioneers of ethnomusicology.^{[viii] [9]}

Orphaned at a immature age, Komitas was taken to Etchmiadzin, Armenia's religious middle, where he received education at the Gevorgian Seminary. Following his ordination as vardapet (chaste priest) in 1895, he studied music at the Frederick William University in Berlin. He thereafter "used his Western training to build a national tradition".^[10] He collected and transcribed over iii,000 pieces of Armenian folk music, more half of which were subsequently lost and just around i,200 are at present extant. Also Armenian folk songs, he besides showed interest in other cultures and in 1903 published the first-ever collection of Kurdish folk songs titled Kurdish melodies. His choir presented Armenian music in many European cities, earning the praise of Claude Debussy, among others. Komitas settled in Constantinople in 1910 to escape mistreatment by ultra-bourgeois clergymen at Etchmiadzin and to innovate Armenian folk music to wider audiences. He was widely embraced by Armenian communities, while Arshag Chobanian called him the "savior of Armenian music".^[xi]

During the Armenian genocide—forth with hundreds of other Armenian intellectuals—Komitas was arrested and deported to a prison house camp in Apr 1915 past the Ottoman government. He was shortly released under unclear circumstances and, having witnessed indiscriminate cruelty and relentless massacres of the Armenians by the Ottoman Turks, Komitas experienced a mental breakdown and developed a severe case of posttraumatic stress disorder (PTSD). The widespread hostile environment in Constantinople and reports of mass-scale Armenian death marches and massacres that reached him further worsened his fragile mental state. He was first placed in a Turkish military-operated infirmary until 1919 so transferred to psychiatric hospitals in Paris, where he spent the final years of his life in agony. Komitas is widely seen as a martyr of the genocide and has been depicted as one of the chief symbols of the Armenian Genocide in art.^[12]

Biography [edit]

Childhood (1869–81) [edit]

Komitas was born Soghomon Soghomonian in Kütahya, Hüdavendigâr (Bursa) Vilayet, Ottoman Empire on 26 September (8 October in New Style) 1869 to Armenian parents Kevork and Takuhi.^{[thirteen] [fourteen]} According to his autobiographical sketches, his parents' ancestors moved to western Anatolia from the Tsghna village in Nakhichevan's Goghtn province at the turn of the century. His family unit only spoke Turkish due to restrictions by the Ottoman authorities. Soghomon was their only child. He was baptized 3 days after his birth. His mother was originally from Bursa and was xvi at the fourth dimension of his birth. People who knew her described her as melancholic, while his father was a cheerful person; but both were interested in music. She died in March 1870, just six months after giving birth to him. Her death left deep scars on him, whose primeval poems were devoted to her. Thereafter, according to different sources, either his father'southward sister-in-law or his paternal grandmother, Mariam, looked after him.^[xv]

In 1880, 4 years after he finished primary school in Kütahya, Soghomon was sent by his male parent to Bursa to continue his instruction. He mayhap stayed with his maternal grandparents who lived in the city. He was sent back to Kütahya 4 months later, following the death of his father who had become an alcoholic. Although Soghomon was adopted by his paternal uncle Harutyun, his "familiar and social structure had collapsed." A childhood friend described him every bit "almost homeless." He was completely deprived of paternal care and was "placed in circumstances that made him vulnerable to the mental illness he suffered later on in life".^[xvi]

Etchmiadzin (1881–95) [edit]

His life took a radical turn in the fall of 1881. In September, the twelve-year-one-time Soghomon was taken to Etchmiadzin by Kevork Vartabed Tertsagyan, the local Armenian bishop, who was asked past the Holy See of Etchmiadzin to observe an orphan male child with practiced singing vox to be enrolled in the prestigious Gevorgian Seminary. On i October 1881, Komitas was introduced to Catholicos Gevorg IV, who was disappointed with his lack of knowledge of Armenian, but was so impressed with his singing talent that he often asked Komitas to sing for visitors. Later an unfortunate childhood, Komitas institute "emotional and intellectual stability" in the seminary.^[17]

Betwixt 1881 and 1910, Komitas was mainly based in Etchmiadzin, although he did spend a meaning time in Europe.^[18] During his first twelvemonth at the seminary, Komitas learned the Armenian music notation (khaz) system based on aboriginal neumes developed before in the 19th century by Hampartsoum Limondjian and his students. He gradually discovered a cracking passion for music and started writing down songs sung past Armenian villagers near Etchmiadzin, who affectionately called him "Notaji Vardapet", meaning "the annotation-taking priest".^[xix]

In the early on 1890s, Komitas made his beginning attempts to write music for the poems of Khachatur Abovian, Hovhannes Hovhannisyan, Avetik Isahakyan (his younger classmate) and others.^[thirteen] In 1891, the Ararat mag (the holy see'south official newspaper) published his "National Anthem" (Ազգային Օրհներգ, lyrics by seminary student A. Tashjian) for polyphonic choirs. He finished the seminary in 1893, became a music teacher and was appointed the choirmaster of the Etchmiadzin Cathedral, Armenia's mother church.^{[xiii] [20]}

His earliest major influence was Kristapor Kara-Murza, who taught at the seminary only i year, in 1892. Kara-Murza composed and organized performances of European music for schoolchildren throughout Armenian-populated areas for educational purposes. And although Komitas criticized his works equally not authentically Armenian, Kara-Murza was the person who taught Komitas the polyphonic choral structure effectually which he built his musical achievements.^[21]

In 1894, Soghomon was ordained hieromonk (կուսակրոն աբեղա) and given the proper name of the seventh-century poet and musician Catholicos Komitas.^[13] In February 1895,^[22] he was ordained vardapet (celibate priest) and became thereafter known as Komitas Vardapet.^[twenty] In the same year, his starting time collection of transcribed folk music, "The Songs of Agn" (Շար Ակնա ժողովրդական երգերի), was completed, which included 25 pieces of love songs, wedding tunes, lullabies and dances. It was disapproved by a reactionary and ultraconservative faction of the Etchmiadzin clergy, who harassed and sarcastically referred to Komitas as "the beloved-singing priest". Rumors of alleged sexual misconduct were spread, leading Komitas into experiencing an identity crisis.^[23]

Tiflis and Berlin (1895–1899) [edit]

In October 1895, Komitas left Etchmiadzin for Tiflis to study harmony nether composer Makar Yekmalyan, whose polyphonic rendering of Armenian liturgy is the most widely used and who became one of Komitas's near influential teachers.^[13] At the time, Tiflis was the nigh suitable choice for Komitas as it was both relatively shut to the Armenian lands and had a rectory, where he could stay. The half dozen months Komitas spent with Yekmalyan deepened his understanding of European harmonic principles and laid the groundwork for his further education in European conservatories. Equally Komitas prepared for entrance exams, the wealthy Armenian oil explorer Alexander Mantashev agreed to pay 1,800 rubles for his three-twelvemonth tuition at the request of Catholicos Mkrtich Khrimian.^[24]

Komitas arrived in Berlin in early on June 1896 without having been accustomed past whatever university. A grouping of Armenian friends helped him to detect an apartment. He initially took private lessons with Richard Schmidt for a few months. Later on, he was accepted into the prestigious Frederick William University.^[25] With picayune left of Mantashev's money after paying for rent and supplies, Komitas cut on food, having one or no repast each solar day.^[26] Withal, this did not distract him from instruction and he finer absorbed the erudition of highly accomplished German teachers. Among them were 18th–19th century folk music specialist Heinrich Bellermann, Max Friedlaender, Oskar Fleischer. Fleischer in May 1899 established the Berlin chapter of the International Musical Society (German: Internationalen Musikgesellschaft), of which Komitas became an active member. He lectured there on Armenian folk music and suggested that it dated dorsum to pre-Christian, heathen times. His studies at the university ended in July 1899.^[27]

Main flow of work (1899–1910) [edit]

Upon his return to Etchmiadzin in September 1899, Komitas resumed instruction and composing. He assembled and trained a large polyphonic choir based on his acquired cognition. Until 1906, he directed the Gevorgian Seminary choir.^[28] It was in this period when he completed "near of the theoretical and research papers that earned him his place amid the pioneers of ethnomusicology." Komitas spent summers in Armenian countryside, developing a unique human relationship with villagers. He thus took the scholarly job of transcribing and preserving rural Armenian songs. In the fall of 1903 subsequently iii years of collection and transcription, Komitas published a collection of 50 folks songs titled "Ane Grand and Ane Songs" (Հազար ու մի խաղ). Lyricist Manuk Abeghian helped him to compile the folk pieces. The same collection was reprinted in 1904, while in 1905 a further 50 songs were published.^[29]

Constantinople (1910–15) [edit]

Komitas'due south "Gusan" choir in 1910

"Seeking to bring appreciation of Armenian music to a wider audience",^[xx] Komitas moved to Constantinople (modern-twenty-four hour period Istanbul), the Ottoman imperial capital letter in 1910.^[13] "There he trained a grouping of students in Armenian melody and formed a choir that toured Armenian communities and gave performances of the folk compositions that Komitas had bundled for four-part choir."^[20] He founded the Gusan choir (Hay gusan since 1912), made up of tens of musicians.^[13] With the aim to produce professional musicians, he taught musicology to Barsegh Kanachyan, Mihran Tumacan, Vagharshak Srvandztian and others.^[13]

Deportation and final years (1915–35) [edit]

On 24 Apr 1915, the mean solar day when the Armenian genocide officially began, he was arrested and put on a train the adjacent day together with 180 other Armenian notables and sent to the urban center of Çankırı in northern Primal Anatolia, at a distance of some 480 kilometres (300 mi). His adept friend Turkish nationalist poet Mehmet Emin Yurdakul, the writer Halide Edip, and the U.S. ambassador Henry Morgenthau intervened with the government, and, by special orders from Talat Pasha, Komitas was dispatched dorsum to the majuscule alongside 8 other Armenians who had been deported.^[xxx] Grigoris Balakian'southward Armenian Golgotha offers details of his deportation, during which Komitas suffered tremendously and was afflicted with traumatic neurosis. In one passage Balakian recounts how:

The more we moved abroad from culture, the more agitated were our souls and the more than our minds were racked with fear. Nosotros idea we saw bandits behind every boulder; the hammocks or cradles hanging from every tree seemed like gallows ropes. The expert on Armenian songs, the peerless archimandrite Father Komitas, who was in our carriage, seemed mentally unstable. He idea the copse were bandits on the attack and continually hid his head nether the hem of my overcoat, like a fearful partridge. He begged me to say a approval for him ["The Savior"] in the promise that it would calm him.^[31]

In the autumn of 1916, he was taken to a hospital in Constantinople, Hôpital de la paix, and then moved to Paris in 1919, where he died in a psychiatric clinic in Villejuif in 1935. Adjacent year, his ashes were transferred to Erevan and buried in the Pantheon that was named after him.^[32]

Legacy [edit]

In the 1950s, his manuscripts were as well transferred from Paris to Yerevan.

Badarak was outset printed in 1933 in Paris and outset recorded onto a digital media in 1988 in Erevan. In collecting and publishing then many folk songs, he saved the cultural heritage of Western Armenia that otherwise would have disappeared considering of the genocide. His works have been published in Armenia in a thoroughly annotated edition by Robert Atayan. Lately, nine songs on German poesy, written during his stay in Berlin, have been excavated from the athenaeum in Erevan and interpreted by soprano Hasmik Papian.

The Yerevan State Musical Conservatory is named afterwards Komitas. There also exists a world-renowned string quartet named after Komitas.

On vi July 2008, on the occasion of Quebec Urban center'southward 400th anniversary celebration, a bronze bosom of Komitas was unveiled near the Quebec National Assembly (provincial legislature, Auteuil street) in recognition of his great input to music in general and to Armenian popular and liturgical music in particular. Previously, a Granite and Statuary statue of Komitas was erected in Detroit in 1981 in laurels of the great composer and every bit a reminder of the tragedy of the Armenian Genocide.

Komitas' tombstone in Yerevan'southward Komitas Pantheon

In September 2008, the CD Gomidas Songs, sung by Isabel Bayrakdarian and accompanied by the Sleeping accommodation Players of the Armenian Philharmonic and pianist Serouj Kradjian, was released on the Nonesuch label. This CD was nominated for a Grammy Award in the Best Song Recording category.^[33] A major Northward American tour by Ms. Bayrakdarian in October 2008 featured the music of Komitas, with concerts in Toronto, San Francisco, Orangish Canton, Los Angeles, Vancouver, Boston and New York's Carnegie Hall. She was accompanied past the Manitoba Chamber Orchestra conducted by Anne Manson, and pianist Serouj Kradjian. The Remembrance Tour ^[34] was dedicated to victims of all genocides and sponsored by the International Institute for Genocide and Human Rights Studies (a division of the Zoryan Constitute). Among the other performers of his music are Evgeny Kissin and Grigory Sokolov.

Since 2018 Komitas appears on the 10000 Armenian dram banknote.

Komitas appears on the 2018 10000 Dram banknote

In 2019, the Gurdjief Ensemble debuted in New York City performing Komitas's folk songs on traditional instruments.^[35]

Landmarks [edit]

The following landmarks in Armenia take been named after him:

• The fundamental square of Vagharshapat.
• The Yerevan State Musical Solarium.
• Komitas Avenue, the main thoroughfare of Yerevan'south Arabkir District.
• The writers' and poets' pantheon.
• The Komitas Museum adjacent to the Pantheon.

Selected works, editions and recordings [edit]

• The Music of Komitas – double LP released on the centenary of Komitas's birth. KCC, 1970.
• The Voice of Komitas Vardapet, Komitas Vardapet – archival performances recorded in 1908–1912, featuring Komitas on vocals and piano, and Armenak Shahmuradyan on vocals. Traditional Crossroads, 1995.^[36]
• Gomidas – Songs, Isabel Bayrakdarian, Serouj Kradjian (arrangements and piano), bedchamber players of the Armenian Combo Orchestra, conducted by Eduard Topchjan. Nonesuch, 2005^[37]
• Komitas – Complete Works for Piano, Şahan Arzruni. Kalan, 2012^[38]
• Hommage à Komitas – audio CD containing 9 songs on German poetry (world premiere, offset recording) and 26 songs in Armenian, Hasmik Papian (soprano) and Vardan Mamikonian (piano). Recorded at Bavaria Studio, Munich, in July 2005. Audite (Germany) in cooperation with Bayerischer Rundfunk, 2006.
• Music by Komitas – audio CD featuring instrumental arrangements performed by the Gurdjieff Ensemble, directed and arranged by Levon Eskenian (with notes). ECM Records, 2015.
• My Armenia – audio CD defended to the 100th Commemoration of the Armenian Genocide, My Armenia offers a very personal, touching and brilliant tribute to Armenian music past Sergey Khachatryan and Lusine Khachatryan. Naïve Records, 2015.
• Komitas Vardapet – Six Dances, Keiko Shichijo (pianoforte). Makkum Records, 2016.

Works on Komitas [edit]

• Kuyumjian, Rita Soulahian (2001). Archaeology of Madness: Komitas, Portrait of an Armenian Icon. Princeton, NJ: Gomidas Institute. ISBN9781903656105.
• Tahmizian, Nikoġos Kirakosi (1994). Komitasẹ ev hay žoġovowrdi eražštakan žaṙangowt'iwnẹ [Komitas and the Musical Legacy of the Armenian Nation] (in Armenian). Pasadena, CA: Drazark Hrat.

Films [edit]

• Komitas, 1988, Director: Don Askarian, Actor: Samvel Ovasapian ^{[39] [forty] [41]}

References [edit]

Notes

1. ^ Սողոմոն Սողոմոնեան in classical orthography and Սողոմոն Սողոմոնյան in reformed orthography. Sometimes anglicized as Solomon Solomonian.^{[3] [four]}
2. ^ He is widely known equally simply Komitas (transliterated as Gomidas from Western Armenian). His church building rank, Vardapet, is sometimes used alongside: Komitas Vardapet (Կոմիտաս Վարդապետ), Gomidas Vartabed in Western Armenian. In the early on 1900s, and equally belatedly as 1908, he signed his proper noun as Soghomon Gevorgian (Kevorkian or Keworkian),^[5] after the Gevorgian Seminary.^[half-dozen]

Citations

1. ^ Soulahian Kuyumjian 2001, p. 46.
2. ^ "Etchmiadzin. 1902". Virtual Museum of Komitas. Retrieved 21 Feb 2014.
3. ^ Lang, David Marshall (1980). Armenia: Cradle of Civilisation. London: Allen & Unwin. p. 256. ISBN9780049560079.
4. ^ ^{a b} "Komitas". Encyclopædia Britannica . Retrieved 26 Jan 2014. Komitas [...] created the basis for a distinctive national musical fashion in Armenia.
5. ^ "The Monthly Musical Tape". The Monthly Musical Record. London: Augener. 30: 15. 1900.
6. ^ Soulahian Kuyumjian 2001, pp. 45–46.
7. ^ Editorial Board (1969). "Հայ ազգային երաժշտության հիմնադիրը [The Founder of Armenian National Music]". Lraber Hasarakakan Gitutyunneri (in Armenian). Yerevan: Armenian Academy of Sciences (xi): 3–6. Archived from the original on 21 May 2017. Retrieved 29 November 2014.
8. ^ Poladian 1972: "He was amid the pioneers in ethnomusicology, a younger contemporary of Carl Stumpf (1848–1936)."
9. ^ McCollum, Jonathan Ray (2004). "Music, Ritual, And Diasporic Identity: A Case Study Of The Armenian Apostolic Church" (PDF). University of Maryland. p. eleven. Retrieved four February 2014. Komitas Vardapet, considered a pioneer in ethnomusicology, turned his attention to the anthropological, sociological, and historical aspects of comparative musicology.
10. ^ Crutchfield, Volition (v October 1987). "Music Noted in Brief; Choir From Armenia at Avery Fisher Hall". The New York Times . Retrieved 26 January 2014.
11. ^ Soulahian Kuyumjian 2001, p. 51.
12. ^ Soulahian Kuyumjian, Rita. Archeology of Madness: Komitas, Portrait of an Armenian Icon. Edition: two, Reading, England: Taderon Press; Princeton, NJ: Gomidas Found, 2001, p. 3.
13. ^ ^{a b c d e f g h} Atayan 1979, p. 539.
14. ^ Nersessian, Vrej, ed. (1978). Essays on Armenian music. Kahn & Averill. p. thirteen. ISBN0-900707-49-6.
15. ^ Soulahian Kuyumjian 2001, p. x–12.
16. ^ Soulahian Kuyumjian 2001, pp. 15–16.
17. ^ Soulahian Kuyumjian 2001, pp. 21–24.
18. ^ Mooradian 1969, p. 61.
19. ^ Soulahian Kuyumjian 2001, p. 28.
20. ^ ^{a b c d} Adalian, Rouben Paul (2010). Historical Dictionary of Armenia. Lanham, Maryland: Scarecrow Press. p. 391. ISBN978-0-8108-7450-3.
21. ^ Soulahian Kuyumjian 2001, pp. 29–30.
22. ^ Soulahian Kuyumjian 2001, p. 32.
23. ^ Soulahian Kuyumjian 2001, p. 33.
24. ^ Soulahian Kuyumjian 2001, pp. 33–34.
25. ^ Soulahian Kuyumjian 2001, pp. 39–40.
26. ^ Soulahian Kuyumjian 2001, p. 41.
27. ^ Soulahian Kuyumjian 2001, pp. 43–44.
28. ^ Soulahian Kuyumjian 2001, pp. 44, 46.
29. ^ Soulahian Kuyumjian 2001, p. 47–49.
30. ^ "Kastamonu Vilâyeti'ne" (PDF). Archived from the original (PDF) on ii November 2006. Retrieved 20 April 2006.
31. ^ Balakian, Grigoris. Armenian Golgotha. Trans. Peter Balakian and Aris Sevag. New York: Alfred A. Knopf, 2009, p. 66. ISBN 0-307-26288-X.
32. ^ "The memorial of Soghomonyan Komitas Soghomon (Կոմիտաս Սողոմոն Սողոմոնյան Գևորգի) buried at Yerevan'due south Komitas Pantheon cemetery". hush.am . Retrieved 17 July 2019.
33. ^ "Bayrakdarian'southward 'Gomidas Songs' Nominated for Grammy," Loussapatz Weekly (Canada), No. 772, 2009, p. 41.
34. ^ "Songs of the homeland". Archived from the original on vii January 2016.
35. ^ "The Gurdjieff Ensemble Celebrates Komitas at 150". Symphony Infinite . Retrieved 24 Nov 2020.
36. ^ "The Voice of Komitas Vardapet – Komitas | AllMusic". AllMusic.
37. ^ Booklet includes sung texts in Armenian transliteration and English language translation
38. ^ Booklet includes a historical discussion of the music in Armenian, Turkish and English
39. ^ FILMS by Don Askarian[one] Archived 11 Feb 2015 at the Wayback Machine
40. ^ Harvard Film Archive. Hieroglyphs of Armenia: Films by Don Askarian [2] Archived 7 March 2015 at the Wayback Motorcar
41. ^ Webdesign ildarado! http://www.ildarado.de. "Don Askarian". 007-berlin.de. Retrieved 16 Nov 2017.

Books

• Atayan, Robert, ed. (2001). Essays and Articles, The musicological treatises of Komitas Vardapet. Vatche Barsoumian (translator). Pasadena, California: Drazark Press. OCLC 50203070.
• Begian, Harry (1964). Gomidas Vartabed: His Life and Importance to Armenian Music. University of Michigan.
• Karakashian, Meline (2011). Կոմիտաս՝ Հոգեբանական Վերլուծում Մը [Gomidas: A Psychological Report] (in Armenian). Antelias, Lebanon: Armenian Catholicosate of Cilicia. ISBN978-9953021638.
• Komitas, Vardapet (1998). Armenian Sacred and Folk Music. Edward Gulbekian (translator). Surrey, England: Curzon Press.
• McCollum, Jonathan; Nercessian, Andy (2004). Armenian Music: A Comprehensive Bibliography and Discography. Lanham, Maryland: Scarecrow Printing. ISBN9780810849679.
• Melikian, Spiridon (1932). Կոմիտասի ստեղծագործությունների անալիզը [Analysis of works of Komitas] (in Armenian). Yerevan: Melikian Fund.
• Mooradian, G. (1969). "Կոմիտասի վերջին այցելությունը Հայաստան [Komitas'south Terminal Visit to Armenia]". Patma-Banasirakan Handes (in Armenian). Yerevan: Armenian Academy of Sciences (4): 61–69. Archived from the original on 29 December 2014. Retrieved 29 December 2014.
• Soulahian Kuyumjian, Rita (2001). Archeology of Madness: Komitas, Portrait of an Armenian Icon. Princeton, New Jersey: Gomidas Constitute. ISBNane-903656-10-9.
• Tahmizian, Nikoghos (1994). Komitas ev hay Zhoghovoordi Erazhshtakan Zharanguty'yun [Komitas and the Musical Legacy of Armenian Notation] (in Armenian). Pasadena, California: Drazark Printing.
• Terlemezian, Ruben (1924). Կոմիտաս վարդապետ: Կեանքը եւ գործունէութիւնը [Komitas Vardapet: Life and Activities] (in Armenian). Vienna: Mkhitarian Printing.
• Vagramian, Violet (1973). Representative Secular Choral Works of Gomidas: An Analytical Study and Evaluation of His Musical Mode. University of Miami.

Academic articles

• Atayan, Robert (1979). "Կոմիտաս [Komitas]". In Hambardzumyan, Viktor (ed.). Armenian Soviet Encyclopedia (in Armenian). Vol. 5. Yerevan: Armenian Encyclopedia. pp. 539–541.
• Poladian, Sirvart (Jan 1972). "Komitas Vardapet and His Contribution to Ethnomusicology". Ethnomusicology. University of Illinois Press on behalf of Society for Ethnomusicology. 16 (one): 82–97. doi:10.2307/850444. JSTOR 850444.
• Wolverton, Cynthia Kay (December 2002). "The Contributions of Armenian Composers to the Clarinet Repertoire" (PDF). University of North Texas. Retrieved 14 February 2014.

Journal and newspaper manufactures

• Church, Michael (21 Apr 2011). "Komitas Vardapet, forgotten folk hero". The Guardian . Retrieved 26 Jan 2014.
• Toumani, Meline (17 October 2008). "Songs Lifted in Praise of an Armenian Hero". The New York Times . Retrieved fourteen Feb 2014.

External links [edit]

• Free scores by Komitas Vardapet at the International Music Score Library Project (IMSLP)
• Komitas Museum
• Isabel Bayrakdarian:Gomidas Songs on Nonesuch
• Biography #one
• Biography #two
• Biography #3
• Some songs in .rm format
• New release of 36 Komitas-songs on SACD past the German independent label AUDITE
• Rita Soulahian Kuyumjian, Archæology of Madness: Komitas, Portrait of an Armenian Icon
• A short film nearly Komitas Vartabed

Modern performances [edit]

• «Ամպել ա» ("Ampel a", "Overcast Over") performed by the "Dilijan" Cord Quartet Archived 22 January 2015 at the Wayback Machine
• «Շողեր ջան» ("Shogher jan") performed by the "Dilijan" String Quartet
• «Կաքաւիկ» ("Kakavik", "Footling Partridge") performed by the "Dilijan" Cord Quartet

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Source: https://en.wikipedia.org/wiki/Komitas

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