Mount Arakatz

Anna Mailian

Sharakan

 

Tracks:

01 - Sirt im sasani - Mghitar Ayrivanetsi ( XIII c)
02 - Ov, zarmanali-Aysor dzaynn Hairakan - Grigor Pahlavouni-Hovanes Yerznkatsi (XII-XIII c)
03 - Havoun,Havoun - Grigor Narekatsi ( X c )
04 - Our es, mayr im - Composer & period un know
05 - Daskn Hreakan - Arakel Siunetsi ( XIV-XV cc)
06 - Khorhurd khorin - Khacatur Taronetsi ( XIII c)
07 - Ter Voghormya - Shnorhali-Komitas ( XII, XIX-XX cc)
08 - Havik - Grigor Narekatsi ( X c)
09 - Varanim i meghats - Composer & period un know
10 - Voghormya ints Astvadz - Mestrop Mashtots ( V c )
11 - I nnjmaned arkaiakan ... - Paghtasar Dpir ( XVII-XVIII cc)
12 - Sailn ain ijaner - Grigor Narekatsi ( X c)

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

·.ღ•:*´♥`*:•ღ.·

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 

Աննա Մայիլյան, հայ երգչուհի (սոպրանո), ազգային և միջազգային բազմաթիվ մրցույթների դափնեկիր։

Ծնվել է Երևանում, 23.10.1970թ.։ Ավարտել է Երևանի Ռոմանոս Մելիքյանի անվան երաժշտական ուսումնարանը (1992),Երևանի Կոմիտասի անվան պետական կոնսերվատորիան (1996)։ Կատարելագործվել է «Մոցարտ» ակադեմիայում (1997-98,Լեհաստան), «Վիլլեքրոզ» ակադեմիայում (Ֆրանսիա), «Հարիկլեա Դարկլե» ակադեմիայում (Ռումինիա)։ Վարպետաց դասեր է ստացել Արաքս Դավթյանի, Քերսթին Մայերի (Շվեդիա), Աննա Դեյնոլդսի (Գերմանիա), Էլլա Բլահովայի (Չեխիա), Մարիաննա Նիկոլեսկույի (Ռումինիա), Քերոլ Սմիթի (Շվեյցարիա) մոտ։

1995-ից մեներգել է Ջրվեժի Սբ. Կաթողիկե եկեղեցում։ 1998թ-ից դասավանդում է Երևանի Կոմիտասի անվան պետական կոնսերվատորիայի դասական երգի ամբիոնում, 2010թ.-ից դոցենտ է։ Երևանում 2000թ. հիմնել է «Սաղմոս» մշակութային կենտրոնը և «Վարպետներ» վոկալ անսամբլը։ 2006-ին հիմնել և ղեկավարում է «Էթնո» վոկալ եռյակը։ Մասնակցել է համերգային փառատոնների, մրցույթների (Ֆրանսիա, Գերմանիա, Բելգիա, Կանադա և այլն)։

1994թ-ին Երևանում «Կոմիտաս-125» վոկալ մրցույթում արժանացել է 1-ին մրցանակի, 1996-ին Ավստրոգերմանական և հայ երգի հանրապետական մրցույթում՝ 1-ին մրցանակի, 2000-ին Ռումինիայում Հարիկլեա Դարկլեի անվան միջազգային մրցույթում՝ ոսկե մեդալի և դափնեկրի կոչման։ 2001-ին Իտալիայում «Իբլա-Գրանդ Պրայզ» միջազգային մրցույթում արժանացել է դափնեկրի կոչման՝ հայ և արևմտագերմանական երգի յուրահատուկ մատուցման համար։

Երգացանկում են հոգևոր և ժողովրդական երգեր, դասական և ժամանակակից հայ և արևմտյան կոմպոզիտորների ստեղծագործություններ։

Պարգևները
2003թ. արժանացել է ՀՀ մշակույթի նախարարության ոսկե մեդալի։
2008թ. արժանացել է ՀՀ վաստակավոր արտիստի կոչմանը։

source

 Armenian Music

In friezes from the walls of ancient pagan buildings we see depicted singers with musical instruments of various kinds, entertaining royal audiences or singing in a group. From these it is evident that music had a place in the earliest civilization of Armenia. Of course, Armenia, like the countries that surrounded her in pagan times, had her strolling minstrels and troubadours, who used musical instruments and their own melodies to accompany the stories they told. From these, no doubt, developed the folk music of the Armenians, which has been described as "lively and distinctly peculiar to the Armenian people, although showing sometimes foreign influences, either Persian or Turkish."
​
The beginnings of liturgical music came in the fifth century, when so much of the work on an Armenian liturgy was undertaken:

"Christianity introduced a new kind of poetry, namely Church hymns and chants. These were called, in Armenian, sharkans. They were not only written in meter, but were composed with a view to being sung. The word sharakan means "row of gems" Historians of the Middle Ages say that the sharakans were written mainly by the "translators," i.e. by the writers of the fourth and fifth centuries. As a matter of fact, very few sharakans were written after the thirteenth century. Since then, no prayers or hymns have been introduced into the Armenian Church.

It is said by writers of the Middle Ages that St. Sahag arranged the sharakans for ten voices and St. Stephanos for twenty-six voices, corresponding to created things - elements, plants, birds, and animals. There were also women sharakan writers. One of these was Sahakadukht, who lived in the eight century. She not only wrote, but also composed music, and taught singing. Out of modesty, she used to hide behind a curtain, whence she gave instruction to both sexes. Singing was considered a great art in Armenia, and musicians were called "philosophers" Several such "philosophers" were canonized and had the word "philosopher" prefixed to their names… When Catholicos Petros Getarardz went to Constantinople, he took with him a company of musicians, whom he presented, as a gift, for the service of the Byzantine court."

By the end of the fifth century, the musical canons were set. But it was not until the ninth century that a system of notation, called the Khaz system, was used. In liturgical music books today, the marks used for this system are still included, but their meanings have not been deciphered because while they indicated the pitch, rhythm, and nuance, which the singer was supposed to use, they assumed that he already knew the basic melody. Today at the Armenian Academy of Sciences in Yerevan, musicologists are attempting to decipher this system with the aid of computers.

Under the influence of Nerses the Grace-filled, the Armenian hymnary was expanded in the twelfth century, for besides his poetic abilities he had much musical talent, and wrote some of the most beautiful liturgical music to be found in the church. It is said that when, as Catholicos, he was distressed to hear his guards singing Turkish ditties, he composed some of his music to give them something better to sing. In any case, his music is beautiful. One example is Norasdeghdzyal a hymn sung in three parts during the morning service, which speaks of the newly-created life God has offered us and conveys, by the purity of its melody, a sense of the new beginning that the Resurrection, the "morning" of the Church, brings to us.

Nerses was the greatest Armenian liturgical composer to come for many centuries, but closer to our own time stands another great figure. Komitas Vartabed. This sensitive young man received some of his early training under Makar Ekmalian, whose compositions of the Divine Liturgy are sung in many Armenian churches today. Later, he received further instruction in Berlin, and began writing some of the more than three thousand songs and compositions which are attributed to him. He took hundreds of old folk songs, arranging them in the way they were meant to be sung, with a pure national flavor. His work attracted the attention of many Europeans; "Debussy's opinion, in which he called Komitas a great composer on the basis of only one of his songs ("Homeless"), is well-known."

Komitas' greatest achievement is his arrangement of parts of the Divine Liturgy, which he wrote down and restored to their original style. The beauty of the Komitas Liturgy, performed today in churches throughout the world is matchless. After he died in Paris his remains were moved to Armenia to be buried there with other beloved artists. Through the work of Komitas, many people in Europe were for the first time exposed to Armenian music in its original form, unchanged by the influence of the Turkish and other Eastern, but foreign influences which had imposed themselves on the culture of the country.

Armenian folk music was arranged symphonically for the first time by Spendiarian, early in the twentieth century. His symphonic piece, Yerevanina sketches, was based on popular folk melodies, including one written by the eighteenth-century bard, Sayat Nova. With this work, and with others like it, Spendiarian became the greatest influence on Armenian symphonic music.

Spendiarian also took a poem by a classic Armenian writer, Hovhannes Toumanian, and based on it the opera Almast, which depicts the Armenians trying to defend their homeland. This lovely piece, which also contains many of the folk melodies, which Spendarian grew to love, has been performed in Moscow, Tbilisi, Odessa, Tashkent, and other places in the Soviet Union. In 1933, the Yerevan opera house which was later to be named after Spendiarian had its grand opening with a performance of Almast.

The operas of Armen Tigranian, whose Anush is not only beautiful but exacts incredible vocal feats from its singers; the ballets and symphonies of Aram Khachaturian; the haunting quality of Alan Hovhaness' music - all are based on the music which the Armenian church and people handed down to their children.

source

 It is impossible to perceive Armenia without Sharakans. Wherever you are in the wild nature of Armenian land, Sharakans seems to fill the forgotten colours of the canvas called "Armenia". They astonish us with their variety of colour and image, with the unity of man and nature, with the harmonic and marvellous explication of spirit and flesh.

*·* 

 

On Bulls, Art & Life

A Bull

Bulls

Bull at night, Egypt

Mountains

Mountains, Ararat

Old Tblisi

Seller of greens

October in Yerevan

Fruits on the blue plate

source of pictures

Martiros Saryan

Martiros Saryan (1880-1972) was an Armenian painter regarded for his masterful selection and use of color.

Inspired by the likes of Henri-Émile-Benoît Matisse and Eugène Henri Paul Gauguin, Saryan captured a sentimental slice of Armenian life in his minimal landscapes, meticulous still lifes, and bold, honest portraiture.

Saryan studied at the Moscow School of Arts and traveled throughout the neighboring region before returning to live in Armenia in 1921. After spending the second half of the 1920s in Paris, Saryan returned to the Soviet Union, tragically losing most of his work from that period at the fault of a fire on board his homeward bound vessel.

Among praise in the Moscow press, Saryan received the Order of Lenin on numerous occasions, as well as a role as a deputy to the USSR Supreme Soviet. 

wiki

Nature's ways are wonderful and unfathomable. The grain swells in the soil, the sprout grows and flowers when the time comes and then it bears new fruit and so does not die. We are like grain. We never die because we are One with Nature. To understand this is to comprehend Immortality—the Apotheosis of the Human Race. It is with this conviction that I have lived my Life. My Life is a store of my experience, a Life of aspirations, sorrows, joys and triumphs. 
(M. Saryan)

Life is an island. People come out of the sea, cross the island, and return to the sea. But this short life is long and beautiful. In getting to know nature man exalts the wonder and beauty of life 
(M. Saryan)
 

♥

Azerbaijan 6

 

Azerbayjan

Musique Traditionnelle

1989

  

Tracks:

01. Zabiollâh Kuliev & Hâbil Aliev - Karabâgh Shekastesi
02. Elkhân Mansurov - Esfahân  
03. Elkhân Mansurov - Mâhur-e Hindi
04. Elmân Badalov - Dilkash-Kurdi
05. Habib Bayramov - Râst
06. Alem Kâsimov, Bahrâm Mansurov & Elmân Badalov - Arazbâre
07. Zabiollâh Kuliev & Hâbil Aliev - Mansuri
08. Hâbil Aliev - Dilkash
09. Bahrâm Mansurov - Shushtar
10. Alem Kâsimov, Bahrâm Mansurov & Elmân Badalov - Osmanli
11. Alem Kâsimov, Bahrâm Mansurov & Elmân Badalov - Ovshar

    

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

  

This record was made by Jean During during a mission of the Centre National de la Recherche Scientifique undertaken in 1985.
1, 2, 3 & 7 were recorded in Baku.
5 & 8 were recorded in Strasbourg, 1984.
4, 6, 9, 10 & 11 were provided by the courtesy of Eldar Mansurov from the Azerbaijan Radio.

  

A Brief History of Azerbaijani Music…
      
Among the “traditions savantes“ from the middle to the Far East, the music of Azerbaijan is one of the least known. Articles written about this musical style are restricted to short encyclopaedic entries or accompanying notes on the back of a record. Nevertheless, the music of Azerbaijan has a firm place among the most elaborate musical traditions of this region, stimulated by the ancient art of modes or “maqāms”, a tradition practised from the Mashrek to the confines of the desert of Gobi. Furthermore, its music has influenced the whole of Trans-Caucasus.

Few peoples have used music with as much fervour, worship and joy as the Azeris. They are profoundly passionate about music, and have time and again, brought forth excellent musicians, even in as remote a place as the mountainous Karabakh.

 One of the reasons of why this tradition is so little know in Europe is to be found in the political and cultural isolation of the Trans-Caucasus. Culturally, the Azeris have remained for a long time in a position of retreat; they have never been interested in founding a reputation of their music abroad. They were content to have a number of academics among their composers, some “people’s artists” a handful of musicologists and ethnologists in order to assure acknowledgment by the central authorities, as well as to converse with sister nations. Something very similar can be said about Turkmenistan, Uzbekistan, and Tajikistan, whose musical traditions share the same fate as that of Azerbaijan. This isolation, however, also had its benefits, since Azerbaijan was able, more than other oriental countries, to preserve its musical authenticity. This doesn’t mean that Azerbaijan and its musicians would have refused to integrate foreign concepts into their own, or that it remained closed towards the outside. A famous example is Bül Bül (1897-1961), the traditional singer who studied bel canto at Milan, and eventually would sing the works of his compatriot Hâijbeyov, who in turn introduced the “Mugam” (the art of Azeri musical modes) into western opera. But despite a very active environment and numerous attempts to fuse traditions, Azerbaijan has been able to preserve its cultural and ethnic identity.

Art Music and Popular Music

The traditional music of Azerbaijan can be divided into two main parts: a “professional” part, in other words, one reserved to highly qualified and trained musicians, and a popular part, whose use does not necessitate a particular qualification. The first domain is that of the art of Mugam, as well as that of the bards (´âshuqs), whereas the second comprises the so-called folk music. A third domain can be assigned to urbane centres and their entertainment music, which includes elements of all domains, as well as western influences.

The “musique savante” or professional music can be divvied up roughly into two zones: the north of the country and a part of Karabagh with a special preference for the art of Mugam, while the south is famous for the cultivation of the art of the bards.

Both traditions have close ties, of course. However, there are certain differences: Contrary to the music of the bards, Mugam music can also be purely instrumental. An instrumental solo, a very important part of Mugam music is very rare in the art of the ´âshuqs, reserved for a few exceptional virtuosos. The art of the bards therefore consists almost exclusively of song, whose leeway for interpretation is rather narrow. Its tradition is purely oral, while Mugam is often based on ancient texts. To work out the specificities of all Azeri musical traditions is, however, extremely complicated, since they all follow a very dense structure that is sometimes hard to comprehend with western concepts of music in mind.

 
Geographical History

Azerbaijan covers most of the region known as Caucasus, as well as the northwest of the Iranian plateau. In 1828 the land was divided up into two parts, one part constituting a province of Iran, while the other was annexed to the empire of the czars, right up to the birth of the USSR in 1920. This whole region was under Turkish influence for several centuries, so that a large majority of the population spoke one of the Turkish dialects.

Azerbaijan is an old home of Iranian culture, with its worship of Zarastrus and the practice of the “religion of fire;” its name ”atra pajân” (the land of the living fire) evokes the spontaneous flames emerging from its petrol fields. The region withstood the conquests of Alexander the Great, as well as the initial Arabic hordes. The Turks only entered the region in the 10th and 12th century, with the vogue of nomadic seldjuqs, who dispersed themselves in the whole of northwest Iran. Long after the Turkish administration was established (middle of 11th century) its regions remained for a long time under Iranian culture, until the Persian language became the official language of the Seljukian court.

After the invasion of Genghis Khan’s hordes in 1220, which culminated in the fall of Baghdad in 1258, the Mongolian dynasty of the Ilkhan established its capital in Marâghe, and afterwards in Tabriz, in the south. Under this rule Azerbaijan lived a prosperous existence.

To cut this long and complicated story short: the Azeris are the result of a mixture of Turks and Iranians (disregarding Caucasian and Armenian elements for the moment), and although the Turkish language has established itself, there remained the refined Persian culture in the cultivated and aristocratic cycles. The relation between these two nations was forged because of the Turkish origin of the sovereigns of Persia, as well as the strong religious tights through Islam of the Shiites as of the 16th century. Another important factor was the shared hostility against the Ottoman Empire, which united Iranians and Caucasians.

The relations between Persian and Azeri music, therefore, are very profound: we can consider each tradition as major braches of the same tree.

 (Source: Jean During, La Musique Traditionnelle de L’Azerbayjan et La Science des Muqams. Baden-Baden & Bouxwiller, 1988.)

source

some more music

Tale Of My Land

   

Rain Sultanov
Tale Of My Land

2008

Tracks:

1. Children
2. Lost Land
3. Father's Tale
4. Mother
5. Ache In My Soul
6. My Angel
7. Tale Of My Land

Musicians:

Rain Sultanov - tenor, soprano sax,
Yasef Eyvazov - oud,
Aleksey Miltikh - cello,
Rauf Sultanov - double bass,
Lala Aliyeva - harp,
Natig Shirinov - nagara,
Ramin Sultanov - drums, davul,
Tofig Jabbarov - percussion.
 

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫
  

This recording is a very important event in my life; the project is called, 'Talking about my native land'. I am trying to express all my feelings about my homeland in the language of music, particularly focussing on two generations, children and old people. Children are our future, the aged are our parents, history, our past. The music on the album expresses sorrow for the children who have lost their homes and parents and our concern for those who are living out the last days of their lives; as well as our heartache over the lost territories. These are all the feelings I experience today. Only acoustic instruments will be used in this project. It's not easy, to be honest, but I really want to make it a success. I want to enliven the music with a documentary video; the 'Talking about my native land' project will be a video disc. I think this album will be my best work yet; it will encapsulate many of the moments which I haven't yet been able to express in the language of music and will communicate to the world my native land, its problems and our people. 

R.S.
  

 

 

♥

Azerbaijan

Tale of My Land CD + DVD,
Children, Lost Land, Father's Tale, Mother, Ache in my Soul, My Angel, Tale of My Land

Musicians: 

Rain Sultanov - tenor, soprano sax, 
Yasef Eyvazov - oud, 
Aleksey Miltikh - cello, 
Rauf Sultanov - double bass, 
Lala Aliyeva - harp, 
Natig Shirinov - nagara, 
Ramin Sultanov - drums, davul, 
Tofig Jabbarov - percussion.

all composition by Rain Sultanov
2008, RSA Records Baku, Azerbaijan
Mixed by Jan Erik Kongshaug, Rainbow Studio, Oslo
produced by Rain Sultanov
co-producer Thor Jorgen Skjelbred

♥♥♥

Rain Sultanov

  

Rain Sultanov
City of Jazz

2003

Tracks:

1. City of Jazz 7.23 (R. Sultanov)
2. Baki khatireleri 6.54 (R. Sultanov)
3. Leyla 7.10 (R. Sultanov)
4. Mart 6.29 (V. Mustafa-zadeh)
5. Azerbaijan 5.40 (R. Babayev)
6. Aglama 7.49 (R. Sultanov)
7. Reyhan 5.14 (F. Amirov)
8. Tale about caspian 7.36 (R. Sultanov)

Personnel:

RAIN SULTANOV: Soprano & tenor sax, ewi, bass clarinet, keyboard,sound & drum programming
SALMAN GAMBAROV: piano
RAUF SULTANOV: acoustic bass
TOFIG JABBAROV: percussions
YASEF EYVAZOV: oud
DAVID KOYFMAN: acoustic bass
RUSLAN HUSEYNOV: bass guitar
RAMIN SULTANOV: drums, tabla
OGTAY RUSTAMOV: trumpet

Recorded november/december 2002 in rainstudio Baku, Azerbaijan.

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫
 

 Rain Sultanov was born in Baku, Azerbaijan in 1965. Influenced by his mother and two elder brothers, he became a musician although as a child he was more eager to draw and attended drawing classes. When he was 14, his elder brothers decided that he should enter music school, where one of his first teachers was Chingiz Babayev.

He bought his first clarinet with his eldest brother's help. He often listened to famous jazz compositions performed by Miles Davis and Weather Report. Michael Brecker's unusual performances were to have a great influence on him later.

After leaving school, Rain was a clarinettist in the military orchestra for almost four years during his army service.

In 1985, when he was a student at the A. Zeynalli Music College, he won the Rain & Donny McCazlin Azerbaijan Music Contest. Rain became an accomplished performer of classical works by Weber, Tchaikovsky and Mozart and at the same time was a professional performer of well-known jazz compositions.Invited by the famous Azerbaijani composer and singer Polad Bulbuloglu to join the Ashuglar group, he started to write improvisations for his songs, while continuing to play jazz with friends and family. Influenced by Michael Brecker's compositions, Rain wrote several of his own works and performed them on tour. In 1988 he was invited by the outstanding Azerbaijani singer Rashid Behbudov to work at the State Song Theatre.

The same year Rain entered the Azerbaijan State Conservatoire. In 1989, after the death of the Rashid Behbudov, Rain started working with the Gaya State Jazz Orchestra. The number of singers in the group increased under Teymur Mirzoyev's guidance, and many new opportunities came up. Invited by clarinet leader Tofig Shabanov, Rain started working as a soloist in the orchestra the same year. He gained a following as a mature improviser.In 1992 Rain was invited to work with the Azerbaijan Teleradio Symphony Orchestra under the direction of Faig Sujaddinov. This proved to be a critical time during which he prepared several solo jazz programmes for concerts. From 1992 to 1994 Rain performed solo jazz concerts at various jazz and concert halls in Turkey and Moscow. In 1995 Rain wrote his first compositions, Jokers' Dance and Day Off . He Adam Rodgers & Raintook part to critical acclaim in jazz festivals in Germany in 1996 and 1997.1996 was a very successful year for Rain: in Germany he wrote several new compositions, including Last Moment, Crazy World and others.

On returning to Azerbaijan, Rain decided to form the Syndicate jazz group with the participation of his eldest brother Rauf Sultanov (guitar), Eldar Rzakulizade (piano), Gamidulla Xafari (guitar) and Vagif Aliyev (drums). Syndicate performed their first solo concert, Last Moment, on 14th and 15th July 1997. Syndicate's performance of original compositions soon won it the admiration of jazz composers. At the same time, from 1997 to 1998, Rain was performing compositions by John Coltrane and Miles Davis in various jazz clubs in Germany and Baku. "Musicians such as John Coltrane and Miles Davis originated many new Rauf Sultanov , Eldar Rzakuli-zadeh , Evelin Blake , Kurtis Fuller , Vagif Aliyev & Raintrends in jazz and they left a brilliant legacy," Rain says.

In 1998 Syndicate were invited to the World Jazz Festival in Novosibirsk (Russia) where they played alongside internationally renowned jazzmen such as Curtis Fuller (trombone), Adam Rogers (guitar) and Danny Makazlin (clarinet). After the festival, Syndicate received an offer from the festival organizer to record an album. In 1999 Rain shared a stage famous saxophonist Tommy Smith in Baku. Publicly recognized as a professional jazz group, Syndicate recorded their first album, Last Moment, in January 1999. When it was completed, Rain decided to change his image as a composer and move to innovative work with the clarinet. He has now composed his new album, Mugam magam, which is based on Azerbaijani national music. It is an intriguing example of Rain's creativity and musical skill. City of Jazz followed in 2003... 

In 2008 Rain Sultanov completed his work, which lasted two years, on his album “Tale of my land”. Rain calls this project album – book, which contains 40 pages of pictures. Album consists of 2 CDs and lasts for 3 hours. The first CD is music, but the second is a 17-minute movie, directed by Azeri ad Turkish film directors. First part of the album includes an interview with Rain Sultanov; the second part contains jazzman’s music with the pictures in the background, included in the disc. Children, old people, especially the refuges are exposed in pictures. The third part is a mini video clip, with a main leitmotif of war and the horrors it brings.
 

 
wiki
 

rain

jazz

more

and more music

Tale Of My Land ... 
 

Today, only a select few musicians carry the name of Azerbaijani jazz to other countries. Rain Sultanov is one leading saxophone player doing just that. Similarly, not many have gone through such an eventfully rich, and sometimes stormy, period of development. He is certainly a musician’s musician - appreciated by those finely tuned to the highest art.

Rain’s music is thoughtful and suffused with significance.

Rain Sultanov – authoritative jazz musician and leading exponent of different forms of music, with his own style and a plethora of ideas and projects, drawn inexorably to the mysterious world of the future.
 

♥

Duduk 3

T.: Yes,:) but before Vache Hovsepyan was another great duduk player: Levon Madoyan :)

  

Levon Madoyan
Collection

Tracks:

1. Akhalkalaki (Dance Song)
2. Akhourian Bar (Dance of Akhourian)
3. Derbent
4. Eraz (A Dream)
5. Hanum bva ozhan
6. Haygagan Azkagragan Barer
7. Jan Gouloum/ Momerov Bar-Alayloukners
8. Maralik
9. Shalakho
  

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"I've collected from various sources (2 books on CDs and 3 Soviet ottsifrovanye records from the 50-60 years) 9 tracks. Apparently, it is no exaggeration to say that this is the first solo album, ofthe great duduk player. :-)
The founder of modern Armenian style of playing the duduk, Madoyan opposed pretentious eastern melizmatike, adopted at that time, more rigorous, but no less expressive style of Armenian folk songs. He expanded the repertoire of Duduk, performing folk songs and mugham, and dance tunes. Madoyan emphasized that the duduk is perfect for the performance of dance music, not just for the music of mourning.
One of the most beautiful melodies of the Armenian "Siretsi yares ram" was written by him.  As a soloist with the orchestra of folk instruments with the Yerevan Philharmonic, he worked on radio and touring throughout the Soviet Union and abroad, many recorded Madoyan, and where ever these records are, and hopefully, we will ever hear them one day.~ hachik"

   
source of the music and text

Thank you hachik :)
  

 ***

Levon Medoyan (1909-1964) was People's Artist, winner of USSR (1939) government awards and prizes, soloist of Radio Folk Instruments State Ensemble, a successful performer of the Armenian melody on the numerous stages of the USSR and Diaspora. He changed the idea of the duduk, and significantly expanded the repertoire starting to play on it dance tunes. Нe is the author of such songs as "Sireci yars taran", first track on Vatche Hovsepian record...
  

Duduk: some more to read

♥

Duduk 2

...I think Gevorg Dabaghyan is the best Duduk player around...

T. says: Hello Miguel nice to hear that. Many experts believe the best duduk player was Vache Hovsepyan (1925 -1978). If you have not listened yet...
 

  

Vatche Hovsepian
Duduk
1998

Tracks:

01 - Sireci yars taran
02 - Uxt kertai
03 - Machkal
04 - Otar champeki vra
05 - Taran, taran
06 - Overn Inkan
07 - Indz mi xndri
08 - Karlosi prken
09 - Knir im balik
10 - Dun en glxen

  

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Before Jivan Gasparyan there was Vatche Hovsepian who set the standard by which all duduk virtuoso's are judged. This album is a collection of his best pieces.

...

Vatche Hovsepian (sometimes credited as Vatche Housepian) is a duduk player. With Antranik Askarian, he performed the duduk parts on "The Feeling Begins," the first track of Peter Gabriel's Passion, the soundtrack album from Martin Scorsese's film The Last Temptation of Christ. The duduk recording is actually an excerpt from a song titled "The Wind Subsides," originally recorded for a collection of Armenian music released by Radio France's Ocora label.

...

The breeze blew. The national melody that sounded for the first time in the performance of Vache Hovsepyan, became the touchstone of presenting the master duduk playing. His recordings sounds in every part of the world as an exclusive interpretation of emotionality and. His high-class art admired everyone. Renowned dudukist was an authority not only in Armenian but also out of its borders. His compositions were very popular among everyone. Lets mention the most popular of them "Come Back Again", (Lyrics by V. Teryan), "In the Evening", (Lyrics by Silva Kaputikyan), "Clover", (lyrics by Pruyr Sevak). Hovsepyan, arguably is the best dudukist of the past fifty years, on stage.

...

The duduk accompanies popular Armenian traditional songs and dances of the various regions and is played at social events, such as weddings, festivities and funerals. It is impossible to imagine the past, the present as well as the future of the musical culture of Armenia without the admirable sonority of duduk and without its magic musical modulation. It has accompanied Armenians on the roads of relocation, in Siberian deportation camps, in cathedrals and modern concert halls.

The prototypes of the duduk are met in the national cultures of Transcaucasia, North Caucasus, Middle Asia and Iran. However, they greatly differ from the structure of the Armenian duduk which brings to the differences also in sound and technical possibilities. Armenian duduk which is also called tsiranapokh (apricot tree pipe), has a warm, soft, slightly nasal timbre. The sound peculiarities of the Armenian slang are noticeable in the sonority of the duduk.

In a course of centuries and with the development of technical means, the instrument has got better and now it has ten holes, eight of which are on the front face and two are on the opposite side.

The duduk is mainly played by two musicians. One player creates the musical environment for the lead melody by playing a continual drone that is held by circular breathing, while the other player develops complex melodies and improvisations.

In 1920-30s a new performing school founded by Margar Margaryan, Levon Madoyan, Khachik Khachatryan and Vache Hovsepyan was established in Armenia. The latter and Jivan Gasparyan, continuer of Hovsepyan’s traditions, created a new repertoire based on Armenian folklore and dance melodies which is performed mainly during festive occasions.
  

Duduk

source of picture

  

Gevorg Dabaghyan
  

  

 Miniatures - Masterworks for Armenian Duduk

2002 
  

Tracks:

1 Anush Garun - folk inspired contemporary composition
2 Kan Voor Jan - bardic love song (improvisational)
3 Shiraki - folk dance
4 Alagyas-Khnki Tsar - folk inspired contemporary composition
5 Vardani Mor Voghb - medieval;text set in 5th century
6 Yaylavor Yar - by modern folk singer (1896-1978)
7 Akhalqalaqi - traditional dance
8 Knir im Balik - traditional lullaby
9 Hayots Aghcheekner - folk inspired contemporary composition
10 Shustar - classic Middle Eastern mode and motif
11 Krngeli - folk dance
12 Aravot Luso - 12th century religious
13 Spasum - classic Middle Eastern mode and motif
14 Havun, Havun - 10th century religious allegory (rooster and hens!)
15 Tsaghik Es - folk dance
  

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Gevorg G. Dabaghyan (Armenian: Գևորգ Դաբաղյան) is a duduk player of Armenian folk music. He is a professor of the duduk at the Yerevan State Musical Conservatory, and on the advisory board of Yerzart Arts. In 1991 he founded the Shoghaken Folk Ensemble, a group of Armenian folk musicians and singers who specialize in traditional Armenian music.
 

The earthy, haunted voice of the ancient Armenian wind instrument known as the duduk has dominated Armenian folk music for over a thousand years and transfixed modern listeners far beyond the Caucasus. Gevorg Dabaghyan, one of Armenia’s greatest duduk players, brings a rich delicacy and power to his interpretations of both folk and liturgical music, performing most recently on the movie soundtrack of Atom Egoyan’s Ararat, and in concerts in Europe and the USA with the world with cellist Yo-Yo Ma as part of the Silk Road Concerts.

 

The music of Armenia is steeped with ancient instruments and haunting melodies. The intriguing rhythms and melodies seem to combine the music of Turkey and the Balkans to create mellow, ambient, melancholy, meditative music ... this is exactly the kind of music I love! Gevorg Dabaghyan reveals the soul of Armenia with each and every note he plays on the duduk, a double reed pipe. Some of the music dates from as far back as the 5th century. Others are from the 10th & 13th centuries, some from the 19th century. Many of the selections are considered "Eastern classical" music, meaning they fit within prescribed modes and makams. There are folk songs from regions that in the past were Armenian territory. There are religious pieces with symbolism, for hope, resurrection and a new life ... Often the music is accompanied by a drone (produced by another duduk) and there is the beat of a dhol (large cylindrical drum). This is the music I play after a long and stressful day ... it soothes my restless spirit and restores my energy. While remaing still and concentrating on the sounds produced by the dudu,k my mind clears the tension and worries of the day. It can meander into unknown musical landscapes by following the melodies and rhythms of this fascinating and beguiling instrument. Anyone who loves Middle Eastern, Balkan, or Turkish music should expand their horizons and experience the pleasures of the duduk ~ Erika Borsos
  

As the liner notes to Miniatures: Masterworks for Armenian Duduk suggest, Dabaghyan is one of the foremost duduk players in Armenia. He has been featured on more than fifty recordings, including the soundtrack to Atom Egoyan's Ararat (an amazingly bad movie, by the way). Miniatures is his second solo release; the first was volume four of the six volume Music of Armenia set (released in 1996). Dabaghyan is also featured on several albums as part of the Shoghaken Ensemble—including the recently released Armenia Anthology.
 
The goal of Dabaghyan's Music of Armenia volume was to introduce western audiences to the mystery and the magic of the duduk—a feat that is readily accomplished. By contrast, the goal of Miniatures is to explore the role of the duduk in the myriad styles that make up Armenian music. Hence, this fifteen-song collection features duduk performances of traditional folk and dance songs, troubadour love songs, Eastern classical compositions (known as makam in Arabic and mugham in Armenian), and Armenian liturgical chants.
 
When I say "features," I mean it: the only accompanying instruments are the dhol (a round drum for rhythm) and a duduk dharm (a continuous duduk drone note played in the background). One thing that a solo recording such as this one does is render its disparate songs a rather unified sound. Hence, the medieval and liturgical songs blend seamlessly with the folk dance and lullaby numbers. At times, this can make the actual listening experience a bit redundant; in fact, I had to study the liner notes to be able to differentiate one musical style from another. It's easy to listen to all fifteen tracks here and think, "Well, there are a lot of nice melodies, but they're all the same—what's the point?" Only by listening to each track by itself and carefully discerning the overall shape and structure of the different musical styles here can one truly appreciate not only Dabaghyan's artistry but also the richness and depth of the duduk's sound. For this album is really all about the duduk. If you enjoy the instrument's sound, you'll love this disk; if not, then get something else.

 
Reviewed by: Michael Heumann

 

  
Gevorg Dabaghyan

 
Thank you TOT for the music :) 
  

Chechnya 3

   

Ensemble Zhovxar

San Home Daymohk

Tracks:

01. Land fathers
02. Party
03. Cold spring
04. Black eyes
05. Tell me why
06. I called your
07. Same age
08. Flower zandaka
09. La Lure
10. I love, love
11. Ocean
12. Gaze home
13. Long time ago
14. Golden Ring
15. Girls and swans
16. I think a minute
17. I will not go for him Dearest Mother
18. Nazam
19. Better if I did not love
20. Stay Free

  

source  

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Women's folklore ensemble "Zhovhar" ("Pearl") was established in 1990 by well-known Chechen singer Ayman Aydamirova (who left the band in 1993). During the period of hostilities in Chechnya the group stopped performing and re-established in 2003 as part of the Republican Philharmonic.
   
Ayman Aydamirova appeared on stage in the mid 80-ies in the group n.a.Checheno-Ingushetia Sh Edisultanova. She sang a duet with her sister Malika. Subsequently, her group was created: "Zhovhar" ("Pearl"). The Ensemble played folk songs. Training and creative approach allowed Ayman Aydamirova a fresh look at the folklore, and to introduce a new paint that has earned her collective reputation and the love of the listeners. "Ensemble Zhovhar"repeatedly performed in Moscow, toured the regions of Russia and the CIS.
   

Chechen folklore and dance
  

♥

Chechnya 2

    

Umar Dimayev
2002
 
CD 1
 
Chechen-Ingush Dance Music
 
Tracks:
 
01.Kavkazskaya People lezginka
02.Shamsuddin Dance
03.Tanets friends (music U. Dimaev)
04.Shutochnaya dance
05.Yusuf dance
06.Shepherds dance
07.Dakasheva dance
08.Gorskaya lezginka
09.Aval dance
10.Kolhoznaya lezginka
11.Utrennyaya dance
12.Ingushsky dance
13.Staroyurtovsky dance
14.Benoyurtovsky dance
15.elderly dance
16.Esambaev dance (music U. Dimaev)
17.Aruzha (music U. Dimaev)
18.U spring
19.Checheno-Ingush march (music U. Dimaev)
20.Ingushskaya dance song
 
CD 2
 
Chechen-Ingush melodies
 
Tracks:
 
1.Melodiya for hearing
2.Song of Mother
3.Devichya melody
4.Partizanskaya song
5.Goryachy greetings
6.Ayza
7.Voshod sun
8.Dolgaya night
9.Ne want, do not come
10.Horoshaya love
11.Ingushskaya melody for hearing
12.Rodnaya mother
13.Krasivaya girl
14.Ne separated from loved ones
15.Solntse
16.Kapitan Matash Mazaev
17.Zvezdy
18.Grustnaya melody
19.Melodiya Hasey
20.My peers
21.Zondaksky flower

 

source

  

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Umar Dimayev (Chechen: Умар Димаев) (October 1, 1908 - 1972) was a legendary Chechen accordionist and folk musician.

 

wiki

 

Meet Umar Dimayev, a virtuoso accordeon player

 

  
The highly talented musician and composer, a merited artist of the Chechen Republic Umar Dimayev has produced about thirty compositions for the accordeon and hundreds of arrangements of folk tunes.
 
Dimayev was born into a farmer's family, in 1908. His was a traditonally musical family. All his brothers and sisters played the accordeon and Dimayev felt grateful to his younger sister Aruzha who introduced him to the world of music and who supported him. His father took a critical view of his musical abilities  and even went so far as to hide his accordeon. He wanted his son to grow up a macho man and to do something more serious than play the accordeon. But Aruzha would give her own accordeon to her brother Umar and taught him to play this instrument. The highly talented Umar had barely turned 15 when neighbors started inviting him to play at family celebrations, including weddings, and at the bedside: they felt his music helped cure people.
 
A small radio station opened in Urus-Martan in 1924, and Dimayev started playing in local radio broadcasts. He was getting to be increasingly popular. Five years later, in 1929, he solo'ed with the orchestra of the National Theater. Work side by side with such a well-known composer and conductor as Alexander Ilyich Alexandrov, who led the theater orchestra, turned Dimayev's attention to composition. Some of his early creations are still played in Chechnya: "The Chechen Waltz" of the stage production "The Red Citadel," a song from "Bella" after Mikhail Lermontov and many others.
 
Umar Dimayev won nationwide renown. He was a soloist of the folk band of the Chechen-Ingush radio company. He won the second award of an All-Union competition of folk musicians (the first award went to Djambul Djabayev of Kazakhstan.) This is how Chechen poet Adiz Kusayev described his impressions of Dimayev's playing:
 
 
      When Umar played the accordeon,
The instrument looked like a spring rainbow...
The fingers that ran as rapidly as flame,
Touched the strings of people's souls, and not a keyboard!..
Umar was playing...He held his accordeon,
Trying to catch the sounds,
And, as a dear and trustworthy friend,
He penetrated the best-guarded nooks of people's hearts.
So he played...The sounds that floated sadly a moment ago
Next moment made people dance.
He played better than anyone,
Only he could play this way - Dimayev!
 
 
Dimayev played his best in the 50's. He composed "A Dance For Makhmoud Esambayev," "A Song of Chechen-Ukrainian Friendship," and a dancing tune called "Two Friends." He joined the efforts to form the "Veinakh" folk dance company, did what he could for the Chechen Philharmonic Society, played in TV and radio broadcasts and was engaged in a film about Mahmoud Esambayev.
 
Umar Dimayev's friends came from various parts of the Soviet Union. He kept in touch with composers Vano Muradeli, Isaac Dunayevsky, Andrei Eshpai and Andrei Petrov, many poets and performing singers. He was blessed with talented offspring who are carrying on his line in music. Three Dimayev boys have grown up to be professioal musicians: Said is a composer and art critic, Ali is a piano player, composer and singer, and Amarbek plays the piano and makes his own arrangements of musical compositions.

  

soure

 

Chechnya

  
Sultan Magomedov - This & That

Tracks:

Bezamash
Chyahkha
The mountains of my forefathers
Kazahash, Kirgizash
Kegirachu Nehan dezachu Dentz
Song of the Motherland
On mountain roads
The most beautiful words I tell you one
Malhan Nohchiycho (solar Chechnya)
Suna hianeraha
I miss the native mountains
I'm missing you
I'm living a dream about you
Unknown
Unknown
Unknown
Unknown
Unknown
Unknown
Unknown

 

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got it here
  

 Sultan Magomedov (Султан Магомедов) is known as the nightingale and a singer from Chechnya.

Ever since 1957, his very special, charming voice has pleased the ear and brought people joy. Anyone who has heard it cannot forget it. Magomedov’s renditions of “Away from my motherland”, “The beautiful morning of the Caucasus”, “Along the mountain roads”, “A Shepherd’s song” and other pieces still ring the bell but no one can sing them as passionately as Magomedov could.

Sultan Magomedov grew up in the deportation years. He made concrete in Kyrgyzstan when playwright Abdul-Khamid Khamidov took notice of his naturally rich, mellow voice and invited him to join a nascent folk song and dance company.

The committee for the reconstruction of the Chechen-Ingush Republic took into account both material and spiritual needs of the repatriates. It sifted their ranks for talents. Composer Khalebski found such highly gifted people as Shchita Edilsultanov, Zulai Sardalova, Umar Deniyev, Yaraghi Zubairayev, Alvi Deniyev and Tamara Aliyeva. But it was not until a short time later that Sultan Magomedov had met his dream of returning to Chechnya. He had no home in Chechnya and had, at first, to room with 17-year-old Muslim Magomayev on the stage of the Philharmonic Society of Grozny. Then, Azeri composer Gadzhiyev invited both youngsters to move to Baku where, he said, they would be allowed to join without entrance exams the State Conservatory of music. Muslim Magomayev left Chechnya for Azerbaijn but Sultan Magomedov prefered to solo with the Chechen-Ingush song and dance company. Sultan wanted to serve his people and spared no effort to meet his philharmonic, radio,  recording, touring and other job commitments.

The Chechen-Ingush government appreciated his creative potential and the effort he put into his work. Sultan Magomedov was made a Merited Artist of the Chechen-Ingush Autonomy. Life in general was returning to normal, changes for the better were evident in his own life, too. He had a home, a wife and a son. He was doing well and it seemed he would be able to do much yet in the many years to come. But his health condition, as it turned out, left much to be desired. He passed away at the age of 35.
  

source 
  

  
something to read
  

Chechnya

Abkhazia 3

  

Ethnographic male chorus Abkhazia
Этнографический мужской хор "Абхазия"

Tracks:

01. Song to the  God (Traditional words and music.  Soloist: V. Chakmach-ipa)
02. Keraz (Traditional words and music. Soloists: V. Sanaya, L. Gumba)
03. Village song (Traditional music, arrangement by  V. Tsargush. Soloist: A. Avidzba)
04. I  love you (Lyrics and music by R. Gumba. Soloist: A. Hagba)
05. Song about Mancha Pshkiach-ipa (Traditional words and music, arrangement by V. Tsargush. Soloists: V. Kokoskeria, N. Ebzhnou,V. Chakmach-ipa.  Vl. Tsargush)
06. Uarada (Lyrics by G. Chachba , music by S. Chkotua. Soloist and  performer  on the apkhyartsa - S. Chkotua)
07. Kudry = Kodor (Lyrics by A. Kutsnia , music by N. Butba. Soloist: V. Kokoskeria)
08. Song about  Abataa Beslan (Traditional words and music, arrangement by V. Tsargush. Soloist: V. Chakmach-ipa)
09. The blue-eyed girl (Lyrics by T. Chania , music by K. Chengelia. Soloist: A. Hagba)
10. Poor old man (Traditional words and music, arrangement by V. Tsargush. Soloist: N. Tania)
11. The orphan’s song (Traditional words and music. Soloist: A. Avidzba)
12. Azar (Traditional words and music. Soloists: V. Kokoskeria, V. Chakmach-ipa)
13. Dziuoua (Traditional words and music, arrangement by  A. Chichba. Soloists:  A. Hagba, R. Gumba)
14. Song about Ayba (Traditional music, arrangement by S. Chkotua. Soloist and performer on the apkhyartsa - S. Chkotua)
15. Without you (Lyrics by T. Chania , music by K. Chengelia. Soloist: A.  Hagba)
16. Beloved girl (Traditional words and music, arrangement by V. Tsargush.  Soloist: V. Dzhugelia)
17. Song  for escorting the bride (Traditional words and music. Soloist: V. Kokoskeria)
18. Wedding song (Traditional music. Soloists: A. Hagba, S. Chkotua)
19. Song of Azhveipshqan (Traditional words and music. Soloist: D. Tsargush)
20. Hunting song (Traditional words and music. Soloists: A. Hagba, A. Bebia. V. Chakmach-ipa)
21. Song of the cliff (Traditional music, arrangement by V. Tsargush. Soloist:  V. Chakmach-ipa)
22. Rafida (Traditional words and music, arrangement by V. Tsargush. Soloists:  N, Ebzhnou, G. Gunba, I. Tsargush, A. Bebia, R. Gumba, D.  Kutsnia, I. Akhba, A. Hagba, A. Avidzba)
23. Song of grief (Words by S. Kutsnia, music by N. Butby. Soloists: D. Kutsnia, A. Hagba, V. Kokoskeria)
24. Song  of the men (Traditional music, arrangement by S. Chkotua. Soloist: S.  Chkotua)
25. Song of injury (Traditional music. Soloist: A. Hagba)
26.  Hail to the homestead - vocal and dance suite. (Words and music by  Igor Kortua, S. Chinchia , 0. Sakania, V. Tsargush. Soloists: V. Chakmach-ipa, N. Ebzhnou, A. Hagba, G. Gunba, G. Ebzhnou)
27. Many  a summer (Traditional words and music, arrangement by V. Tsargush. Soloists:  V. Chakmach-ipa, A. Avidzba, G. Gunba, N. Ebzhnou, R. Dzhenia)
   

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more photos...

...and some more

 

      

Abkhazia

 

maps

  

 ♥ 

Abkhazia 2

Abkhazian State Folk Song and Dance Ensemble
Государственный заслуженный ансамбль народной песни и танца республики Абхазия

Tracks:

   1. Cantata "On Three Heroes" (Lyrics by R. Smyr, Music by V. Tsargush.  Choir ensemble and capella of V. Sudzkov. Soloist: Chakmach-Ipa)
   2. Memorial  to the Fallen (Music by V. Tsargush. Choir ensemble and capella  of V. Sudakov. Soloist - G Kosinov)
   3. For you (Lyrics by J. Akhuba, music by V. Tsargush. Choir ensemble and  capella of V. Sudakov. Soloist: N. Dzhindzholia)
   4. Mother Abkhazia (Words and music by V. Tsargush. Choir ensemble  and capella of V. Sudakov. Soloist – M. Shamba)
   5. T’isi" (Words by G. Gublia, music by V. Tsargush. Choir  ensemble and capella of V. Sudakov. Soloist – V. Chakmach-Ipa)
   6. Poem to You, Abkhazia (Words and music by T. Adzhapua. Choir ensemble  and capella of V. Sudakov. Soloists – V . Kokoskeria, V. Chakmach-Ipa)
   7. Mancha. Song of a national hero. (Traditional  words and music, arrangement by V. Tsargush. Choir ensemble. Soloists  – T. Kokoskeria, E. Naiba, V. Tsargush, V. Chakmach-Ipa)
   8. Afyrtyn ("Storm") (Traditional music, arrangement  by V. Tsargush. Choir ensemble, soloist – V. Chakmach-Ipa)
   9. Atlarchopa (untranslateable). (Traditional music,  arrangement by A. Chichba. Choir Ensemble)
  10. Atahmada Kabada" (Poor old man). (Traditional music, arrangement by V. Tsargush. Choir ensemble, soloist – L. Kishba)
  11. Azar (untranslateable). (Traditional music. Choir  ensemble soloist – V. Tsargush)
  12. Schardaaamta ('Many a Summer’). (Traditional music.  Choir ensemble. Soloist - T. Kokoskeria)
  13. Radeda (performed during the escorting of the bride to the home of the groom). (Traditional words and music. Choir ensemble soloist – V. Chakmach-Ipa)
  14. Aybarkyra (In linked procession). (Traditional music, arrangement by V. Tsargush. Choir ensemble)
  15. Wedding dance. (Traditional music. Choir ensemble.  Soloists – N. Naydenov, V. Chakmach-Ipa)
  16. To the rock. (Traditional music. Choir ensemble, soloist – V. Chakmach-Ipa)
  17. Kyakhba Hadzharat (Folk song about a hero). Traditional words and music. Choir ensemble. Soloists – V. Kokoskeria, N. Ebzhnou, N. Dzhindzholia, V. Chakmach-Ipa)
  18. Wari-Dada (humorous song). (Traditional words and  music. Choir ensemble, soloist – V. Chakmach-Ipa)
  19. I’m Looking For You (Lyrics by R. Dzhopua, music by V. Tsargush.  Choir ensemble, soloist – V. Chakmach-Ipa)
  20. Ozbak (Folk song about a hero). Traditional words  and music. Choir ensemble. Soloists  – E. Nanba, T. Kokoskeria, I. Tsatsua)
  21. Cavalry  folk-song."  (Words by R. Dzhopua, musical arrangement by  V. Tsargush. Choir Ensemble)
  22. Nanykyara (untranslateable).  (Traditional words and music, arrangement by  V. Tsargush. Choir ensemble. Soloists  – V. Chakmach-Ipa, L. Khvichiya. L.Khishba, E. Nanba, V. Kiut, V. Tsargush)
  23. Abkhazian Dance-Melodies and Rhythms
  24. Abkhazian Dance-Melodies and Rhythms
  25. Abkhazian Dance-Melodies and Rhythms
  26. Abkhazian Dance-Melodies and Rhythms
  27. Abkhazian Dance-Melodies and Rhythms
  28. Abkhazian Dance-Melodies and Rhythms
  29. Abkhazian Dance-Melodies and Rhythms

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Reflecting the family structure of the traditional society and the great significance of the collective-tribal beginning, the Abkhazian songs are manly in many voices, at that in the thick choral vertical chords several strata of sound could be discerned. These could include the freely out-pouring solo voice, adding itself to astringent chords, or an ostinato bourdon-type voice, or a “dialogue” of the female and male voices. However, there is a predomination of male polyphony. The earliest genres of female singing were considered to be lullabies and funereal songs, although lately there are more frequent appearances of female groups, such as the female ensemble “Gunda,” which perform mostly dance and humorous melodies. Abkhazia’s fame for the longevity of its inhabitants, as well as its tradition of venerating elders, preserved throughout the centuries, is personified by the famous ethnographic chorus “Nartaa” (established in 1948). Among its members there is a notable absence of participants younger than 70 years old; however, the ensemble with its extensive program of ritual, heroic, humorous and drinking songs has toured in numerous countries of the world, having won a whole lot of authoritative vocal tournaments.
No less well-known is the Abkhazian State Folk Song Ensemble. Established in 1931 as the main ethnographic chorus in Abkhazia, the ensemble was subsequently enhanced by a wonderful dance group and obtained the status of the Abkhazian State Honorary Ensemble of Folk Song and Dance.

  

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