His name became known to a wider public with his piano
concerto (1936) and Violin Concerto (1940). Of his three colourful ballets the
best known are Gayaneh (1939–41) and Spartacus (1950–54). In addition to his
ballets and concertos, he wrote three symphonies, vocal and instrumental works,
works for brass band, piano works, incidental music, film scores and chamber
works.
He became a close friend of Shostakovich who later recounted
an amusing story of the occasion when both composers took part in a national
competition, in 1943, to compose a new National Anthem. Stalin ordered that the
two composers write an Anthem together, a difficult job given that the two were
so different in musical style and given Khachaturian’s enthusiasm for eating
and drinking before ever getting down to any work. They managed to patch
together an anthem but didn’t win.
It is both
Khachaturian’s ebullience and Armenian folk influences that feature in a new
recording of works for violin and piano from Nimbus www.wyastone.co.uk Performed by Hideko Udagawa (violin) http://hidekoudagawa.com and Boris Berezovsky (piano) www.askonasholt.co.uk/artists/instrumentalists/piano/boris-berezovsky they offer a tantalising glimpse of what
the young composer was writing during his Conservatory years as well as providing
arrangements of popular works from his maturity.
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Song Poem (1929) was
dedicated ‘in honour of the Ashugs’ or itinerant bands that plays in the
Caucasus. A piano flourish opens the piece before the violin joins in an
attractive melody tinged with the flavour of Khachaturian’s native Armenia.
There is some lovely writing for the piano and violin, particularly in the
quieter, later stages, beautifully handled by Hideko Udagawa and Boris
Berezovsky.
Dance No.1 (1925)
receives its world premiere recording here and proves to be a memorable piece
with a jaunty theme full of lovely pianistic and violinistic touches in this
lovely performance.
Another world premiere recording is Elegy (1925). Originally written for cello, in this arrangement it
is the piano that opens with a gentle motif before the violin develops the
theme, full of lovely inflections with some beautifully hushed playing from Berezovsky.
Udagawa draws much pathos from the violin part.
Dance (1926)
brings more Caucasian sounding melody with a lively rhythmic dance theme brilliantly
played by Udagawa and Berezovsky. There is a sultry central section,
beautifully realised, where hints of the violin concerto are heard. There are some
pretty virtuosic moments before the lovely coda.
Khachaturian’s Sonata for violin and piano (1932), perhaps the most substantial work here, receives its world premiere recording.
Rather strident piano discords open the first movement Lent. Rubato ed espressivo. before the
violin provides a flowing melody, the piano retaining a somewhat more
astringent edge, before eventually giving in to the melody. Nevertheless, there
remains some dissonance between the violin and piano in this passionate
movement. There is a short cadenza before a slower section for piano where,
when the violin re-joins, is full of hints of Khachaturian’s violin concerto in
its inflections and intervals.
The much longer Allegro
ma non troppo finds both players launching straight into the direct and
forceful theme. As the movement progresses the theme is subjected to much
virtuosic variation with some beautiful textures from Udagawa as well as a fine
section for piano. The music leads through some flowing, languid passages as
well as some pretty challenging writing for both violin and piano. It has, at
times, a rather unstoppable feel as the music keeps its forward momentum. Eventually
there is a more extended cadenza brilliantly played by Udagawa. When the piano
re-joins there is no let up for the violinist as both have some pretty
demanding parts to negotiate right up to the coda.
Udagawa and Berezovsky provide a terrific premiere recording
of this interesting and attractive early work that provides many indications as
to what was to come.
Following on from these early works are a number of
arrangements of pieces from his ballet suites and the incidental music Masquerade (1940). This performance of Nocturne from Masquerade receives a
world premiere recording with some very fine playing in this effective
arrangement.
Whatever one’s view of the Sabre Dance from Khachaturian’s ballet, Gayaneh (1942), no one can say that the composer didn’t have a
gift for memorable tunes. In this
arrangement these players throw themselves into it, with Udagawa providing some
terrific violinistic effects. Some of the colour of the orchestration is, of
course, lost but this is great fun all the same with Berezovsky often providing
a terrific counterpoint to Udagawa’s vibrant playing.
The ballet contains a feast of lovely exotic melodies
including Ayesha’s Dance, a slow
lilting dance where, in this arrangement, the violin part is particularly full
of virtuosic writing. There is an exquisitely played coda.
The rhythmic Nuneh
Variation, with this arrangement billed as another world premiere
recording, has a folk style tune that receives terrific playing from Udagawa.
Finely there is a typically Khachaturian style Lullaby so beautifully played by these
two artists. Again it is remarkable how Khachaturian could summon up so many
simple, yet lovely melodies. The piece gains in power and passion midway before
the hushed coda.
Khachaturian’s last
ballet, Spartacus (1954), has an equal number of memorable tunes, not least
of which re-appears in the Grand Adagio. Before that we have the lively Dance of Aegina with some lovely little rhythmic
snaps, again brilliantly played.
The piano introduces the well-known theme of the Grand Adagio before the violin enters to
reveal it in its full glory. These two players push the melody forward without
any undue emphasis of emotion and keeping a tempo that retained its ballet
roots. Once again the benefit of Khachaturian’s colourful orchestration is
missed but these fine players make the music seem natural for these forces. Berezovsky
provides terrific playing in the dynamic piano section before the music builds
to its peroration, eventually dropping to the quiet coda with such fine playing
from both artists.
Both of these arrangements for violin and piano receive
their world premiere recordings.
This is very much a partnership of equals with Udagawa and Berezovsky
bringing out so much from this music. Such beguiling melodic ideas make for a
disc to unashamedly revel in.
They receive a close but finely detailed recording from The
Recital Hall, The Performing Arts Center, Purchase College, State University of
New York, USA.
There are excellent booklet notes by Daniel Jaffé.
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