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Interpretations of Komitas' "Shushiki"

The document discusses Komitas Vardapet's composition 'Shushiki' from his cycle 'Six Dances,' highlighting interpretations by three pianists: Hayk Melikyan, Khatia Buniatishvili, and Grigory Sokolov. Melikyan emphasizes the dance's grace and rhythm, Buniatishvili conveys sadness and depth, while Sokolov offers a versatile interpretation that blends both styles. The author concludes that each pianist's nationality influences their performance, showcasing the individuality in interpreting Komitas's work.

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Ani Safaryan
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0% found this document useful (0 votes)
88 views3 pages

Interpretations of Komitas' "Shushiki"

The document discusses Komitas Vardapet's composition 'Shushiki' from his cycle 'Six Dances,' highlighting interpretations by three pianists: Hayk Melikyan, Khatia Buniatishvili, and Grigory Sokolov. Melikyan emphasizes the dance's grace and rhythm, Buniatishvili conveys sadness and depth, while Sokolov offers a versatile interpretation that blends both styles. The author concludes that each pianist's nationality influences their performance, showcasing the individuality in interpreting Komitas's work.

Uploaded by

Ani Safaryan
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Assignment #2

Music Appreciation

27.10.2020

In 1906 Komitas Vardapet wrote a cycle of dances for piano in Paris called "Six Dances."

It is an exciting and unique composition, where the piano first appears as the Master's core

means of performance. This paper will look at one of the fantastic compositions from this cycle

named "Shushiki." The title of each piece includes both the name of the dance itself and the area
from which it originates. Hence, the listener and performer can better imagine the specific

region’s identity and feel the rhythm and character of the dance. So let's compare three

performances of the same composition in order to see how pianists interpreted Armenian folk

music.

The first performer is Armenian pianist Hayk Melikyan. Comparing with other performances,

he plays at a relatively fast pace, a more mobile tempo, so here we can feel that "Shushaki" is

dance music that achieves some of the grace, elegance, and tenderness of a woman's dance. He

illustrates it very natural and flexible so we can imagine dancers’ body movements by harmonic

forms and rhythmic patterns. Moreover, he emphasizes the supple and wealthy rhythm and

prevalent articulations. Also, he creates an echo effect with the help of a pedal, which makes the

performance very tender and interlaced. So, Melikyan performs this excellent piece with ease

and airiness, highlighting all dignities of Armenian folk music.

In contrast, Khatia Buniatishvili performs more gently and wiser, reliving each note. Here

she emphasized the broad and sweet melody, which consists of various intertwined melodic

fragments. It is obvious that she plays much slower than the other two pianists and maintains

constant pianissimo during the whole performance. In my perspective, in Buniatishvili's

performance, you can feel sadness and thoughtfulness; it no longer resembles a dance. You can

feel the pain and sophisticated fate of the Armenian nation. Hence, by profound involvement into

music, this amazing pianist flawlessly performed this work, which is harmonized by Komitas
with rare skill and excellent taste.

And the last performer is the Russian pianist Grigory Sokolov, whose performance is like a

mixture of the first and the second pianists since we can hear the lightness of performance and, at

the same time, deep living profound involvement into music. His dynamics are very colorful and

vivid, and it seems that he plays with rhythm and characters. Likewise, as the Buniatishvili's

performance, we can not hear national dance music; it is more storytelling by a unique

interpretation of the pianist. I really like the pianist's way of playing this composition, but to be

honest, I feel that here he lost that Armenian folk music's identity. For instance, Melikyan clearly
shows the gentle and elegant dance of Armenian girls, and in Buniatishvili's performance, as I

mentioned, you can feel the sadness and pain of Armenians, but here I can not connect it with

Komitas. However, Sokolov's interpretation is very versatile and amusing.

To conclude, I always admire the works of the greatest composer of all time, Komitas, and it

was my pleasure to write about one of the most beloved compositions. As we can see, the three

pianists of different nationalities interpreted the same work totally in another way. Of course, it is

impossible to perform the same piece in the same way, and each musician feels and interprets it

individually. However, I believe that in the case of Komitas, the nationalities of pianists also

have an impact on the performances.


Reference:

Komitas Vardapet: Six Dances Keiko Shichijo

https://makkumrecords.nl/mr17.html#:~:text=In%201906%20Komitas%20Vardapet

%20wrote,dances%20for%20piano%20in%20Paris. HYPERLINK

"https://makkumrecords.nl/mr17.html#:~:text=In%201906%20Komitas%20Vardapet

%20wrote,dances%20for%20piano%20in%20Paris.&text=All%20six%20pieces%20are

%20based,tenderness%20of%20a%20woman's%20dance"& HYPERLINK

"https://makkumrecords.nl/mr17.html#:~:text=In%201906%20Komitas%20Vardapet
%20wrote,dances%20for%20piano%20in%20Paris.&text=All%20six%20pieces%20are

%20based,tenderness%20of%20a%20woman's%20dance"text=All%20six%20pieces

%20are%20based,tenderness%20of%20a%20woman's%20dance.

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