RE-CREATION – Reinterpreting Armenian Folk and Medieval Music through Improvisations and Live Electronics

Venue: University of Agder, Kristiansand – Sigurd Køhns Hus, Sal 1
Date: Wednesday, 25 September 2024
Time: 13:15

Performers:

• Mariam Kharatyan (piano)
• Vigen Balasanyan (duduk, blul)
• Alessandra Bossa (live electronics, voice)
• Maria Muradyan (violin)
• Mane Avagyan (flute)

  In a fusion of ancient and contemporary soundscapes, the RE-CREATION concert at the University of Agder offered a remarkable journey through Armenian folk and medieval music, reinterpreted through improvisation and live electronics. The performance was a collaborative exploration of sound, blending classical, folk, and electronic elements into a unique auditory experience.

The performers, hailing from diverse musical backgrounds, created a seamless dialogue between their instruments, with each artist contributing their individuality while embracing the collective spirit of the concert. The program featured a range of sacred hymns and folk songs by Armenian composers spanning centuries, from Anania Shirakaci (7th century) to Komitas (20th century).

The concert opened with Anania Shirakaci’s “Vasn Meroy Prkutean” (For Our Salvation), a hauntingly beautiful hymn from the 7th century. The interplay between the classical piano, duduk, and live electronics set the tone for the evening, creating an evocative blend of ancient and modern textures. The subtle electronic effects added an ethereal layer to the music, complementing the earthy tones of the folk instruments.

Grigor Narekatsi’s “Havun, Havun” (Bird, Bird), a hymn from the 10th century, was another standout moment. The live improvisations between violinist Maria Muradyan and flutist Mane Avagyan brought a fresh vitality to the centuries-old melody. Their sensitive interpretation, enriched by live electronics and the plaintive sound of the duduk, showcased a harmonious blend of traditional and experimental approaches.

Komitas’ folk songs, such as “Matniqy Matovs Cher” (The Ring Misfit My Finger) and “Kanche Krunk” (Call, Crane), were performed with a deep reverence for their roots. Vigen Balasanyan’s mastery of the duduk and blul was particularly noteworthy, as he transported the audience to the pastoral landscapes of Armenia. The use of live electronics by Alessandra Bossa added a contemporary edge to these folk melodies, transforming them into a new musical experience while retaining their emotional core.

The concert was not just a performance but a live experiment in musical synthesis. Each piece was recreated in real-time, with the musicians building upon the foundations of traditional Armenian music to craft something entirely new. The combination of Mariam Kharatyan’s classical piano with the folk instruments and live electronics created a sonic tapestry that was both rich and immersive.

Alessandra Bossa’s live sampling and remixing techniques were integral to the success of this cross-disciplinary collaboration. Her ability to seamlessly blend her electronic manipulations with the live instruments opened up new dimensions in the interpretation of these ancient works.

The RE-CREATION concert was a profound exploration of the intersection between tradition and innovation. The musicians, through their improvisations and live electronics, breathed new life into Armenian folk and medieval music. The performance offered a glimpse into the future of music, where the boundaries between genres and eras are dissolved, allowing for endless creative possibilities.

For the audience at Sigurd Køhns Hus, this was more than a concert—it was a transformative experience that showcased the power of music to bridge cultures, time periods, and artistic disciplines.