Program notes

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Piano Work (Uninterrupted Illumination)

To give you an idea of myself as a composer, I should say that I'm very interested in a conceptual way of thinking. This explains the fact that my works could be written in very different musical aesthetics each time. If a concept inspires me, I believe that all musical languages are suitable to be used.

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In this piece, I was particularly interested in incorporating as many scales as I found necessary and placing them in uninterrupted motion, where the listener does not have much time to concentrate and figure out where mutations occur. The listener begins to follow the music without having much time to analyze what's going on. I expect that the listener may be a bit confused at first, but afterward, I believe that a condition is created where the listener feels the music and wanders with it, without necessarily needing to understand it with a turned mind.

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''almost could be …'' for violin and viola

This piece was written during the workshop in Charlotte New Music Festival at Queens University Of Charlotte as a speed writing course. We were given less than 24 hours to write the score according to the pre-given instrumentation. The goal was to find the ways and combine two seemingly incompatible pieces in the most harmonious way, with no limitations in how to work with given materials. These works were the song "Humble" by Kendrick Lamar and Igor Stravinsky's ''The Soldier's Tale''. Two truly seemingly incompatible pieces, where we all tried to find common ground. I'm still not sure, if such a combination is possible, but I think that it is "almost could be ..." .

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Mechanical(S.) for saxophone quartet

The piece Mechanical(S.), has a two meaning. One meaning can be explained as “Mechanics” as one word, while the second, ” Mechanical “S.” means mechanical saxophones. With this piece I have tried to imitate the work of mechanical machines. They do not have a soul, they are almost always accurate, they do exactly what is programmed. My interest is, that it should be performed by humans and they are ones who will destroy the exact work of mechanics.

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'M'Spiration for viola solo

...for the 450th anniversary of the birth of the Italian composer Claudio Monteverdi...

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The piece called ''M'Spiration', what is a fictitious word. 'M' stands for Monteverdi and replaces the letters 'IN' in a word "Inspiration".So we have the "M" letter and the word "Spiration". 'M'Spiration means Monteverdi Inspiration.

This piece, a chance to explore the music of Claudio Monteverdi from my point of view, through my music.

In piece I have tried to find the point, where can be in unison two extremely different musical aesthetics. I used three types of musical materials. 1st type of material is composed mostly in Monteverdi's scale. 2nd type of material is from Monteverdi's music, which is modified rhythmically, or some changes in the material may appear too. 3rd type, is a material, again by me, but this time based mostly on Monteverdi's harmony solutions.

After I have three types of material, I'm trying to disclose them by putting in musical form what I have used for this piece and in contemporary musical tendencies which interests me.

I tried to give different qualities to the sound and thus discover the materials.

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4.5 Situation(s) for flute solo

One of the most important question for this piece is its name ''4.5 Situation(s).

As an author I was very interested in question, what we call the situation and how can we divide the situation to have an half situation ?

What can we call an half situation and whether is this possible ?

The piece became an occasion for my contemplation and has a purpose to give also a point of view to the listener.

In everyday life we find ourselves in different situations, how can we at least in our minds, split the situation ? For example, remove from the presented situation some action, will it give the feeling of an imperfect,incomplete situation or it will turn to another situation? Or if you change the location of actions of certain situation ?

I do believe that, time space also gives some idea about completeness of situation, so if we do something every time in certain time interval, this could gives us a sense of completeness, and then what if we shorten the time interval? Again will that split the situation or just give the sense of incompleteness, but will be complete in its contraction.

This is what I have try to discover through my piece
 

'Motion' for clarinet, violin and cello

The piece was written in the end of 2014 as an independent work after graduating from Conservatory with bachelor degree. The piece is divided into 6 parts and each of them is a small miniature which in some parts are divided into sub parts of their own. Parts interchange uninterrupted, substituting each other. The main idea of this piece is – motion, which is reflected particularly in dynamics, it does not lie at the basis for the development of piece, but reflected in separate fragments, from which the main piece is built. In the main the music notation is exact, they give a precise indication how should it be played. But there are some parts which give the performers feel the freedom of motion of their own, that is also an important component in the development of this music. Generally we can say that it is a piece, which gives the listener different views of motion in which other ideas of this piece are also arise.

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Piano Trio

The piece was written in 2012 by Ruben Antonyan, while attending Yerevan State Conservatory after Komitas.

In an attempt to describe this “Piano Trio” it probably will not be correct to identify it as a proper and accepted genre and a musical form of “Piano Trio”, as the author has tried to get out of widespread use of musical forms (such as the Sonata form) and with that tried to dictate musical content more freely.

This “Piano Trio” similar to “Piano Trio” genre maybe only with it’s instrumental ensemble, but musical form has it’s own specific and inherent pattern.

At first glance this wholesome seemed “Trio” is divided into three parts which are divided into subparts of their own. Parts interchange uninterrupted, substituting each other in perfect harmony. “Trio” starts with cello, which plays (expresses) the general tone of the composition (theme). This tone(theme) turns into the cornerstone of the composition. Through undergoing some changes, it gradually evolves and repeats itself all throughout the composition, supporting its wholesomeness. Just like it starts with a cello, the same tone is played more extended by piano in the middle of composition and goes out with a violin at the end of it.

This “Piano Trio” is a composition with contrast, it develops in melodic, lyrical and rhythmic combination.

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