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Kirill Karabits|Avet Rubeni Terterian: Symphonies Nos. 3 & 4

Avet Rubeni Terterian: Symphonies Nos. 3 & 4

Kirill Karabits, Bournemouth Symphony Orchestra

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In his homeland, Avet Terterian is regarded, alongside Aram Khachaturian, as the other giant of twentieth-century Armenian music, and as the founder of his nation’s progressive school of composers. Born in July 1929, Terterian began his musical education at the Baku Music College. Returning to his native country, he studied at the Komitas State Conservatory in Yerevan, latterly becoming a composition pupil of Edvard Mirzoian.
His early works follow in the tradition of Khachaturian. From his opera The Ring of Fire (1967) onwards, he developed an advanced musical language embracing atonality, chance elements, and electronics. Another significant influence was the music of Giya Kancheli, and important, too, was the way in which he absorbed aspects of Armenian folk and ancient liturgical music into his personal voice. The backbone of Terterian’s achievement is enshrined in his eight symphonies. In summing them up he wrote: ‘We are all living on the threshold of a terrible apocalyptic judgement. It has always seemed to me that my symphonies are a cry of the soul for salvation and for the forgiveness of sins.’ © Chandos

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Avet Rubeni Terterian: Symphonies Nos. 3 & 4

Kirill Karabits

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Symphony No. 3 (Avet Rubeni Terterian)

1
I. Crotchet = 138 - 152
Kirill Karabits
00:12:00

Bournemouth Symphony Orchestra, Orchestra, MainArtist - Kirill Karabits, Conductor, MainArtist - Tigran Aleksanyan, Soloist, MainArtist - Vahe Hovanesian, Soloist, MainArtist - Avet Rubeni Terterian, Composer

2019 Chandos Records 2019 Chandos Records

2
II. Crotchet = 88 (ad libitum)
Kirill Karabits
00:08:45

Bournemouth Symphony Orchestra, Orchestra, MainArtist - Kirill Karabits, Conductor, MainArtist - Tigran Aleksanyan, Soloist, MainArtist - Vahe Hovanesian, Soloist, MainArtist - Avet Rubeni Terterian, Composer

2019 Chandos Records 2019 Chandos Records

3
III. Crotchet = 138
Kirill Karabits
00:07:58

Bournemouth Symphony Orchestra, Orchestra, MainArtist - Kirill Karabits, Conductor, MainArtist - Tigran Aleksanyan, Soloist, MainArtist - Vahe Hovanesian, Soloist, MainArtist - Avet Rubeni Terterian, Composer

2019 Chandos Records 2019 Chandos Records

4
Shoger jan
Tigran Aleksanyan
00:01:33

Komitas Vardapet, Composer - Tigran Aleksanyan, Soloist, MainArtist - Vahe Hovanesian, Soloist, MainArtist

2019 Chandos Records 2019 Chandos Records

5
Noobar-Noobar
Tigran Aleksanyan
00:02:30

Traditional, Composer - Tigran Aleksanyan, Soloist, MainArtist - Vahe Hovanesian, Soloist, MainArtist

2019 Chandos Records 2019 Chandos Records

Symphony No. 4 (Avet Rubeni Terterian)

6
Part I (Revised 1984)
Kirill Karabits
00:14:16

Bournemouth Symphony Orchestra, Orchestra, MainArtist - Kirill Karabits, Conductor, MainArtist - Avet Rubeni Terterian, Composer

2019 Chandos Records 2019 Chandos Records

7
Part II (Revised 1984)
Kirill Karabits
00:04:38

Bournemouth Symphony Orchestra, Orchestra, MainArtist - Kirill Karabits, Conductor, MainArtist - Avet Rubeni Terterian, Composer

2019 Chandos Records 2019 Chandos Records

8
Part III (Revised 1984)
Kirill Karabits
00:07:13

Bournemouth Symphony Orchestra, Orchestra, MainArtist - Kirill Karabits, Conductor, MainArtist - Avet Rubeni Terterian, Composer

2019 Chandos Records 2019 Chandos Records

Albumbeschreibung

In his homeland, Avet Terterian is regarded, alongside Aram Khachaturian, as the other giant of twentieth-century Armenian music, and as the founder of his nation’s progressive school of composers. Born in July 1929, Terterian began his musical education at the Baku Music College. Returning to his native country, he studied at the Komitas State Conservatory in Yerevan, latterly becoming a composition pupil of Edvard Mirzoian.
His early works follow in the tradition of Khachaturian. From his opera The Ring of Fire (1967) onwards, he developed an advanced musical language embracing atonality, chance elements, and electronics. Another significant influence was the music of Giya Kancheli, and important, too, was the way in which he absorbed aspects of Armenian folk and ancient liturgical music into his personal voice. The backbone of Terterian’s achievement is enshrined in his eight symphonies. In summing them up he wrote: ‘We are all living on the threshold of a terrible apocalyptic judgement. It has always seemed to me that my symphonies are a cry of the soul for salvation and for the forgiveness of sins.’ © Chandos

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