PROGRAM NOTES

FOR A COMPLETE LIST OF LORIS TJEKNAVORIANS WORKS

OPERA Zahak Opera Grieved by the fate of people who live and die under brutal regimes, Zahak, Tjeknavorians latest opera was written as a tribute to them. It was completed in 2010, in Tehran. The text of the libretto (in Persian) is from the original poem, written by Mahtab Danesh and Loris Tjeknavorian. Influenced by the devil appearing as a friend, Prince Zahak kills his father, taking over his thrown. The devil then appears to Zahak as a cook, making wonderful meals for him. As a reward, Zahak lets him kiss his shoulders. Suddenly two snakes come out from where Zahak was kissed, leaving the king helpless to get rid of them. Zahak turns to a doctor for help and the doctor, too, is now the devil, and he recommends the snakes to be fed by human brain. Zahak begins killing people to feed the snakes with their brains and one night the son (Fereydoun) of one of his victims appears in his dream, determined to kill him. When he wakes up, he goes looking for the young man and cannot find him. Instead, Fereydoun eventually finds him with the help of another victims father (Kave the smith) and tries to kill him, but before too long, he is stopped by an angel (Sorush). The angel suggests that Zahak should be imprisoned in chains, in Alborz, Irans highest mountain. Pardis and Parisa, Opera in Two Acts (four scenes) Composed in 1973, based on a Persian fairy-tale story by Parvin Sarlak, the opera Pardis and Parisa was produced in the same year by the Tehran Opera House, while Tjeknavorian served there as a Music Director. The libretto was written by Mahmoud Khoshnam. The opera is about a teenage girl (Parisa) who is stolen by a monster and kept away in chains. Her friend Pardis goes looking for her and, with the help of the Queen of Doves, whom he meets in the woods, he finally finds her in a cave. Parisa shows Pardis the monsters life-bottle and Pardis breaks it, killing the devil but also bringing down the entire cave. Luckily the Queen of Doves rescues them. The story ends with a big, happy feast, where Pardis and Parisa reunite with their friends. The English version of the opera was written by Mark Valencia, and the Armenian version was written by Lyudvig Duryan and was premiered by the Armenian Philharmonic Orchestra Choir and Soloists, in Yerevan, Armenia, in 1998. Rostam and Sohrab, (in two acts) Epic poem Composed on a libretto based on original texts by the eminent 10th century Persian poet A. Ferdousi, Tjeknavorians premiere opera has the distinction of being the first Iranian opera. The young composer started work on this lengthy piece off and on since 1961 and completed it over two decades later, in

1984. In 1963, Carl Orff, one of the most famous composers of the time, was so impressed by the opera that he helped arrange a scholarship for Tjeknavorian to live in Salzburg and work on the opera. Composing this opera, Tjeknavorian was faced by a rather serious challenge; to bring out both linguistic and musical characteristics of ancient Persia, using contemporary compositional techniques. To accomplish this, the composer had to not only make musical innovations but to study aspects of Persian historic culture which were crystallized in Ferdousis epic poem. His extensive research includes the study of dasgah (a series of unique Persian scales and modes), zourkhane* etc. The story of Rostam and Sohrab is a tragedy of parental love and the urge for power. Unaware that he had a son by the princess of his neighboring country, the legendary Persian hero Rostam faced his son Sohrab in battle, fighting on opposing sides. Rostam denied that Sohrab may be did not recognise his own son, although Sohrab had suspicions that Rostam may be his father. Already hit by Rostams sword and minutes before he dies, Sohrab says to Rostam, ...my father will find you and take his revenge. Rostam asks, Who is your father? and Sohrab says Rostam. Overwhelmed by an unbearable feeling of guilt and shame, Rostam wishes to put an end to his own life, but he is stopped by his friends. Sohrabs mother, hearing about the tragic death of her son, dies shortly in deep grief. The first concert performance was given by the Armenian Philharmonic Orchestra Choir and Soloists, in Yerevan, Armenia, in 1988 and later repeated in Tehran. In 2001, the European premiere was given by the Tonknstler Orchestra of Austria and Slovakian Philharmonic Choir (with Austrian soloists), at the Festival Hall, in Sankt Plten, Austria. The first recording of the opera was made in Yerevan, in 2004. In the same year the recording was used to create a production in Tehran, directed by Behrus Gharibpour, and coproduced by the Vienna Marionette Theater. An English version of the opera also exists, adopted by Leslie Fyson. * Special rhythmic patterns used in ritual performances for training strong fighters.

DANCE DRAMA Dance Drama Simorgh (for Iranian National Instruments (Ney, Santoor, Gheychak, Kamanche, Tar, Oud, Robab, Tombak, Naghare, Fars, Gavarge, Dohol) and Piccolo, Flute, Timpani, Tom-tom, Cymbals.) Composed in 1973, Tjeknavorians twelve-movement Dance Drama was commissioned by choreographer Robet de Warren (Head of Iranian Folklore Dance Ensemble), who himself choreographed the work in the same year, in Tehran. A year later, the ballet was produced by the London Festival Ballet, choreographed by Andre Prokovsky, featuring prima-ballerina Galina Samsova of the Saint Petersburg Ballet. The ballet was recorded by Parviz Payvars Iranian National Instrumental Ensemble in 1973. The story behind this Dance Drama was taken from a number of Persian love stories, in which Ahriman (the destroyer of love) makes repeated attempts to crush and destroy love everywhere possible. For instance, one of the stories is about the love between a nightingale and a rose. When Ahriman learns about it, he gives thorns to the rose to hurt the nightingale when they cuddle. Eventually Ahriman

manages to destroy all the love in the world, putting the earth on fire. The epilogue is based on Iranian poet Atars Conference of Birds where millions of birds, envious that humans have a God and they dont, are trying to fly far away to find their own god. Only thirty (Simorgh) of those make it to the chamber of God and, once entering it, they find that God is in themselves. Othello ballet based on Shakespears Drama Composed in 1983, Othello was commissioned by Robert de Warren (Artistic director of Northern Ballet Company in Manchester, England) who himself wrote the scenario in 1983. The full-length ballet is in two acts and the orchestral suite consists of fifty movements. In 1984 Northern Ballet toured throughout the major cities in UK, including London (in the presence of Princes Ann), presenting Othello Ballet. The ballet suite was recorded by the London Symphony Orchestra (conducted by the composer) in 1984. The American premiere was given by Sarasota Ballet in Florida, in 1997 (Directed by Robert de Warren). ORCHESTRAL SUITES Ararat Suite, for orchestra Dedicated to the 1700th anniversary of Christianity in Armenia, Ararat Suite was completed and recorded by the Armenian Philharmonic Orchestra, in 1998, in Yerevan, Armenia. The movements depict the foundation of Christianity in Armenia. A version for two pianos and percussion also exists. Dances Fantastique, for orchestra The original version of Dances Fantastique was written for solo piano in 1958, and later, in 1978, it was orchestrated and the first performance was given by Louisville Orchestra in the same year, in a choreographed production by Ron Cunningham and the Louisville Ballet. It was written as a graduation work for the Vienna Music Academy, from which the composer received a degree in music composition, in 1961. The thematic material is original, inspired by Armenian national folklore. Rostam & Sohrab Suite, for orchestra In 1983 Tjeknavorian extracted this seven-movement suite from his opera Rostam & Sohrab. The first performance was given by the London Symphony Orchestra, in 1984. Since then it has received many performances with some of the worlds leading orchestras, including the Vienna Symphony Orchestra, the State Symphony Orchestra of Mexico, etc. It was recorded by the Armenian Philharmonic Orchestra, in 1998. Persepolis 2500 (King Cyrus Suite), for orchestra Composed in 1972, on a commission from the Ministry of Culture of Iran, Persepolis 2500 was dedicated to the 2500th anniversary of the Persian monarchy, founded by King Syrus. It was recorded by a French recording orchestra and choir in Paris, for Persepoliss Sound and the Light show, directed by Pier Arno. The recording of the performance was released by Philips Records. For this composition Tjeknavorian received the prestigious Homeyoun order from the Shah of Iran.

Pardis & Parisa Suites No. 1 & 2 Based on Tkeknavorians fairy tale opera Pardis & Parisa, this orchestral suite (six movements each) was extracted in 1975. The first performance was given by the London Philharmonic Orchestra, in 1987. It was recorded by the Armenian Philharmonic Orchestra, in 1998. Soon extracts from this recording were used by the famous carmaker BMW in the promotional material for their new 07 series luxury vehicles. Eternal Love Originally composed for soprano, tenor and piano in 1996, in Yerevan, Armenia, Tjeknavorians Ethernal Love feature texts written mostly by the composer. The first performance was given by the Armenian Philharmonic Orchestra in 1996 at Aram Khachaturian concert hall, in Yerevan. Love Song Suite, Nostalgia, for piano Tjeknavorians Love Song Suite was originally composed for soprano, tenor and orchestra in 1997. It was later arranged for orchestra alone. A version for strings and piano also exists. Nostalgia was originally composed in 1997 for piano and orchestra and was premiered by pianist Armen Babakhanyan and the Armenian Philharmonic Orchestra. A version for strings alone is also available. Strausiana, for orchestra Composed in 1996, in the memory of Johan Straus, Strausiana was written in the form of Waltz, based on Tjekavorians own melodies in the style of Viennese tradition. The first performance was given by the Armenian Philharmonic Orchestra, in 1996. A version for strings and piano also exists. CHORAL WORKS Life of Christ for A Capella Male Choir For about a decade since 1970, Tjeknavorian collected various versions of Armenian hymns and church songs from libraries and churches around the world and, in 1977, he presented the collection to Catholicos of All Armenians Vazgen I, at the Holy Church of Ejmiatsin, Armenia. For this service, Tjeknavorian received the highest order of Grigor the Illuminator. The collection was also presented to a number of ethnomusicologists during a festival of Armenian music in London, in 1978. Life of Christ was soon written based on some of the material relating to Christs life. The first performance was given by the renowned British Ambrozian Choir at the Queen Elizabeth Hall, in 1975. The first American premiere was given by the Roger Hall Choir at the University of Southern California, in 1979. The work consists of two parts. The first part goes from the ancestry of Christ to his baptism, and the second part continues from the Holy Week to Ascension. The piece was original written in Classical Armenian language and was later translated into English by Leslie Fyson.

Most recently, Life of Christ was performed by the Armenian Sacred Music Singers during the Klangbogen International Festival in Vienna. The same group later recorded the piece at an Armenian church in Tehran. Fall of Lucifer for Solo Tenor, Baritone, ad-libitum Speaking Choir, and Chamber Orchestra Composed in 1983 in London, Fall of Lucifer is based on the text from Mathew 4, Luke 10.1, Peter 1, 5.8 (in German). The featured tenor is Christs voice and baritone is Satans. The first performance was given by the Armenian Philharmonic Orchestra Choir and Soloists in 1995, in Yerevan Armenia. Armenian Requiem, for choir and orchestra with soloists (soprano and tenor) Commissioned by Gulbenkian Foundation in 1982, Tjeknavorians Armenian Requiem received its first performance by Gulbenkian Orchestra and Choir in Lisbon, Portugal, in 1984. The first American performance was given by the American Symphony Orchestra and the New York Choral Singers, at the Church of St. Paul the Apostle, in New York, in 1988. The music is based on Armenian sacred songs and is divided in the following parts: 1 Lords Prayer 2 Creation 3 Holy Trinity 4 Judas Betrail of Christ 5 Christ Lamenting to Mother Mary 6 Marys Lament to his Dying Son 7 Kyrie Eleison 8 Funeral Music 9 Amen 10 Sanctus 11 Glory to God 12 Lords Prayer The piece was originally written in Armenian and was later translated into English by Leslie Fyson, and recorded by the Armenian Philharmonic Orchestra and Choir. Book of Revelation Oratorio for large orchestra, large percussion section, choir and four soloists (SATB) Composed in 1981, in London, Tjeknavorians oratorio is based on the complete setting of Johns Book of Revelation from the King James Version. The work is in two parts (Chapters 1-13 and 13-22) and is partly based on Armenian chants. Through the course of his career as a composer, Tjeknavorian composed three works to commemorate the Armenian Genocide of 1915. The first of this trilogy is the symphony No. 1, depicting the protest and outcry of the Armenian people, the Symophony No. 2, depicting the salvation of the dead through Jesus

Christ, and his oratorio, hoping that the Last Judgment will punish those who commit crimes against humanity. God Is Love, for Orchestra and Choir Seven motets based on psalms from Kings David (Dedicated to the Jewish Holocaust) Composed in 1984 in London, God is Love was conceived in the memory of the Jewish Holocaust. The first performance was given by the London Ambrozian Choir, in London, in 1988. In 1989 it was performed by the Washington Chorale, at the Washington Cathedral, in Washington DC. It was recorded in 1999 by the Armenian Philharmonic Orchestra and Choir. A version with organ and choir also exists. God Is Love, for Organ and Choir Seven motets based on psalms from Kings David (Dedicated to the Jewish Holocaust) Composed in 1984 in London, God is Love was conceived in the memory of the Jewish Holocaust. The first performance was given by the London Ambrozian Choir, in London, in 1988. In 1989 it was performed by the Washington Chorale, at the Washington Cathedral, in Washington DC. A version with orchestra and choir was recorded in 1999 by the Armenian Philharmonic Orchestra and Choir. In Memoriam for twelve brass instruments and percussion Tjeknavorians In Memoriam was dedicated to the victims of the Armenian earthquake (1988). The first performance was given by the brass and percussion section of the American Symphony Orchestra, in 1989, at Carnegie Hall, in New York. The music is based on Armenian church hymns and funeral songs. A year later the piece was extended and re-orchestrated to the following movements: 1 Lord Have Mercy 2 When Entering Alter 3 He who came from nothing 4 The priest and the people 5 The Heavenly Jerusalem 6 Kyrie Eleison 7 The Lords Prayer Hayastan (Armenian), for choir and orchestra Based on the composers own words, Hayastan was written as an ode to Armenia. The first performance was given by the Armenian Philharmonic Orchestra and Choir in 1997 in Yerevan, Armenia. MUSIC FOR PERCUSSIAN Dances Fantastique for 2 pianos, celesta & percussion Arranged from an early 1958 piano composition by the same title.

Dances Fantastique for 3 pianos, celesta & percussion Arranged from an early 1958 piano composition by the same title. Requiem for the Massacred for percussion and trumpet Arrangement based on material from the composers first symphony. Moods for oboe and percussion ensemble Written in 1975, in London, Moods for Oboe and Percussion Ensemble was dedicated to Anthony Camden, the Principal Oboist with the London Symphony Orchestra. The first performances was given by the London Percussion Virtuosi (with Camden as the soloist), at the Queen Elizabeth Hall in London, during the 1975/6 concert season. It was recorded by musicians from the Armenian Philharmonic, in Yerevan, Armenia, in 1997. The US premiere was given at the University of Indiana, in 1987. The themes in this four-movement work were inspired by Armenian folk tunes and an immigrant song, depicting the life of an immigrant. Symphony No. 1 Requiem for the Massacred for Solo Trumpet and Percussion Ensemble Symphony No. 1 (Requiem for the Massacred) was written in 1973 in London. It was dedicated to the 60th anniversary of the Armenian Genocide. The premiere was given by the London Percussion Virtuosi in 1975, at the Queen Elizabeth Hall, in London. In the same year it was recorded for the Unicorn Records. The thematic material is mostly original, partly based on Armenian sacred music. The first movement depicts the peaceful life of Armenians before the Genocide; the second movement depicts the scene of the Genocide; the third movement is a requiem for the dead, and the forth movement is about the lives and deaths of the survivors, hearing an unfinished immigrant song*, and ending the symphony with an outcry. A solo trumpet (from backstage) signals the beginning of the thirds and fourth movements. *The composers grandfather was a genocide survivor who often used to sing this particular tune used in the movement. Ararat Suite for Two Pianos and Percussion Dedicated to the 1700th anniversary of Christianity in Armenia, Ararat Suite was completed and recorded in 1998, in Yerevan, Armenia. The movements depict the foundation of Christianity in Armenia. This seven-movement piece was originally written for orchestra and later arranged for two pianos and percussion.

MUSIC FOR PIANO Love Song Suite, Nostalgia, for piano Tjeknavorians Love Song Suite was originally composed for soprano, tenor and orchestra in 1997. It was later arranged for orchestra alone. A version for strings and piano also exists. Nostalgia was originally composed in 1997 for piano and orchestra and was premiered by pianist Armen Babakhanyan and the Armenian Philharmonic Orchestra. A version for strings alone is also available. VOL. 1. Prelude for Piano (from Opera Rostan & Sohrab), Introduction & Battle Scene (from Opera Rostan & Sohrab) for Solo Piano Prelude for Piano (from Opera Rostan & Sohrab) and Introduction & Battle Scene (from Opera Rostan & Sohrab) were written in 1963, in Tehran. Winfried Van Den Hove premiered and recorded them in 1963, in Tehran. The following previously published compositions are also available in this volume: Kleiderskope Armenian Songs Armenian Dance Armenian Suite Armenian Bagatelles Armenian Miniatures Good Friday VOL. 2. Sonatine Nos. 1 and 2, Dances Fantastique. Composed in 1962, in Tehran, Sonatines Nos. 1 & 2 were dedicated to Winfried Van Den Hove, who premiered and recorded them in 1962, in Tehran. Dances Fantastique was written in 1958, in Vienna, while Tjeknavorian was a student at Vienna Academy. It was dedicated to the famous American-Armenian writer Williams Saroyan. This seven movement piece has a large orchestra version also, as well as versions for pianos (1, 2, 3) and percussion. The first performance was given by Winfried Van Den Hove, in Vienna, in 1959. It was recorded by the Austrian Radio in the same year and was publish by the Austrian publisher Doblinger, in 1962. CHAMBER MUSIC Lake Van Suite for Flute, Horn, Vibraphone, Celesta, Harp, Guitar, Violin and Double Bass.

This seven-movement work was written while Tjeknavorian was a resident composer with Novello Music, in London. The British Granada Television, in Manchester, selected a movement from the suit as the main theme on their network (aired at the beginning and ending of their broadcast). The premiere was given by principal musicians of the London Symphony Orchestra, at the Queen Elizabeth Hall, in 1975. It was also recorded by the same group, later issued by RCA. A version for twelve strings is also available. Armenian Bagatelles for Flute, Clarinet, Trumpet, and Trombone Originally written for solo piano, this twenty-six -movement work was composed while Tjeknavorian was a resident composer with Novello Music, in London. The themes in the suite were based on Armenian secular and sacred music. The premiere was given by principal musicians of the London Symphony Orchestra, at the Queen Elizabeth Hall, in 1975. A version for string quartet is also available. MUSIC FOR STRINGS Symphonieta Erebuni for Twelve Solo Strings Written in 1976, in London, this three-work was based on Edgar Hovhanisyans popular ErebuniYerevan song. The first performance was given by the English Chamber Orchestra, in 1976. It was recorded by soloists from the Armenian Philharmonic Orchestra, in 1998. The composition is about the ancient city of Erebuni (now Yerevan). Dance Suit For flute, clarinet, two percussion, violin and double base Comprised of nine movements, the Dance Suite was written in 1979, in London. It was recorded by soloists from the London Philharmonic Orchestra, in 1984. The first public performance was given by soloists (music faculty members) from the University of Evansville, in 1987. Lake Van Suite for Twelve Strings The original version of this seven-movement work was written for flute, horn, vibraphone, celesta, harp, guitar, violin and double bass, while Tjeknavorian was a resident composer with Novello Music, in London. It was later arranged by the composer for twelve strings and was later recorded by the string players of the Armenian Philharmonic Orchestra, in 1997. The premiere was given by the English Chamber Orchestra, in Tehran, in 1977.

Woodwind Quintet for Flute, Oboe, Clarinet, and Bassoon Tjeknavorians Woodwind Quintet was based on the composers Violin Concerto (1968) and was written in 1973. It was recorded by the soloists from the London Symphony Orchestra, in 1974. Songs and Dances for Flute, Vibraphone, and Double Bass Written in two parts (five and six movements) in 1978, it was recorded by soloists from the London Philharmonic Orchestra, in 1978. The first public performance was given by soloists (music faculty members) from the University of Evansville, in 1987. Divertimento for Clarinet, Trumpet, Vibraphone, and Trombone This five-movement piece was written in 1978, in London, based on themes from the opera Rostam and Sohrab. The first performance was given by soloists (music faculty members) from the University of Evansville, in 1987. Love Song for Piano, Harp and Strings Originally composed for soprano, tenor and piano in 1996, in Yerevan, Armenia, Tjeknavorians Love Songs feature texts written mostly by the composer. The first performance was given by the Armenian Philharmonic Orchestra in 1996 at Aram Khachaturian concert hall, in Yerevan. SYMPHONIES Symphony No.1 (Requiem for the massacred) Composed in 1974, for the 60th anniversary of the Armenian Genocide, the original score of this symphony was written for solo trumpet and percussion ensemble. In 1996, it was arranged for large orchestra and choir. The first performance was given at the Megaron Concert Hall in Athens, in 1998. It was recorded by the Armenian Philharmonic Orchestra and Choir, 1998. The symphony is in five movements: I Mennace II Massacre III Requiem IV Scherzo V Death of the immigrant The first movement is based on the Armenian medieval chat Oh, Great Mystery!. The second movement is based on Armenian medieval text, Judass betrayal of Christ. The third movement is based on funeral music of the Armenian Church. The only instrumental movement, which depicts the

scattering of Armenians around the world after the genocide, is the forth movement. The fifth movement is based on the Armenian immigrant song Tsitsernak, depicting the death of his immigrant grandfather, who continued singing that song until his death. In the symphony that song is left unfinished, ending the entire work with an outcry. Symphony No. 2 Composed in 1979, for the 65th anniversary of the Armenian Genocide, Tjeknavorian worked on the symphony while he served as composer in residence at the Armenian College, at the University of La Vern, in California. The first performance was given by the National Symphony Orchestra, in Johannesburg, South Africa, in 1970. The symphony is in four movements which are performed uninterruptedly. Motives of various Armenian folk songs are used in the first movement, which expresses anxiety and fear. The second movement is based on a medieval Armenian chant (Credo), which is played on all the wind instruments in different rhythmic patterns, against a gigantic cluster in the string section, fading in from various registers. It then reaches its climax before giving way to the massacre scene, as the third movement. There anther medieval chant Judass Love of Silver is presented, which turns the movement into chaos, proceeding the death march, under ponderous bass drum beats, that eventually ends a big outcry. The forth movement brings back the Credo melody expressing the salvation through Christ. One by one, each woodwind, brass, and percussion instrument enters the Credo motif, with different rhythmic patterns, until entire choir and orchestra join in a majestic tutti performance of credo. The symphony has no marked ending and it should finish whenever the conductor desires. Symphony No. 3 (2000) Composed in 1982, in New York, Tjeknavorians Third Symphony was commissioned by Minnesotas Morehead State University, on the occasion of the universitys 100th anniversary. The first performance was given by Fargo Morehead Symphony Orchestra, in 1984. In 2004 the fourth movement was revised to include choir and soloists, incorporating a poem by the famous Persian poet Hafez. This act was commissioned by Irans President Mohammad Khatami for his association called Dialogue Among Civilizations. A recording was later made by the Armenian Philharmonic Orchestra. The idea behind the symphony is Tjeknavorians long-cherished hope that by the year 2000 Armenia would be an independent country.* The first movement, Conflict, uses two funeral melodies, Dies Irea and Priest and the People (from Armenian Church). The second movement is in the memory of the dead, using the famous Armenian folk song Garun a collected by the great Armenian musicologist Komitas. The third scherzo movement is based on an Armenian shepherd song. The forth movement opens with a fanfare based on an Armenian folk song, then following a poem by Hafez sung in Arabic, Armenian, English, French, German, Persian, Russian, and Spanish. Fragments from over a dozen national anthems soon appear and the fanfare theme returns, this time accompanied by strings playing in the locrian mode. The music soon returns to the multi-language song ending with a climax of lush orchestral and choral tutti. *This, of course, happened much earlier (in 1991) and the composer himself played a role in helping bring the independence.

Symphony No.4 Written in 1987, in New York, Tjeknavorians 4th Symphony was conceived as a dedication to both the 70th anniversary of the formation of the first Armenian republic and to the memory of his father, who, as a young man, took part in the final battle (Sardarapat) to bring Armenias short-lived independence on May 28, in 1918. The first performance was given by the American Symphony Orchestra, at Saint Pauls Cathedral, in New York, in 1987. It was recorded by the Armenian Philharmonic Orchestra, in 1990. This four-movement symphony is entirely based on Armenian sacred and secular music, as well as revolutionary songs. The first movement portrays the struggle of the Armenian people, their faith in gaining independence. The second movement is a sacred liturgy. The third movement depicts the exuberance of Armenians over the victory. The forth movement, theme and variations, portrays the celebrated independence. Symphony No. 5 Composed in 1989, Tjeknavorians fifth symphony was conceived as a celebration to 1700 anniversary of Christianity in Armenian. The motifs in this symphony come from Armenian Sacred and Secular music; the symphony ends with a famous church-song of the Ejmiatsin Cathedral. The four movements are as follows: I Yerevan II Songs in a Monastery (Geghard) III Scherzo IV Ejmiatsin (Celebration) The first performance was given by the Armenian Philharmonic Orchestra and Choir, in 1998. CONCERTI Concerto for Violin (for strings) The violin concerto was composed in 1956, while Tjeknavorian was a student at the Vienna Academy of Music. It was dedicated to and inspired by Aram Khachaturian, whom Tjeknavorian met in 1959, in Vienna. Khachaturian praised the young composers work and encouraged him to compose with the inspiration and spirit of Armenian music. The first performance was given by Tjeknavorians violin professor, Josef Drevo, in Vienna, in 1957. Since then the concerto received a number of performances by leading orchestras, including the London Philharmonic, in 1980 (Ralph Holmes, Violin). Concerto for Violin The violin concerto was composed in 1956, while Tjeknavorian was a student at the Vienna Academy of Music. It was dedicated to and inspired by Aram Khachaturian, whom Tjeknavorian met in 1959, in

Vienna. Khachaturian praised the young composers work and encouraged him to compose with the inspiration and spirit of Armenian music. The first performance was given by Tjeknavorians violin professor, Josef Drevo, in Vienna, in 1957. Since then the concerto received a number of performances by leading orchestras, including the London Philharmonic, in 1980 (Ralph Holmes, Violin). A version for violin and string orchestra also exists. Concerto for Piano The piano concerto was composed during the last year of Tjeknavorians study at the Vienna Academy of Music, in 1961. The first performance was given by Winfried Van Den Hove (piano) and the Tehran Symphony Orchestra. The first European performance was given by the Halle Philharmonic Orchestra in Manchester, England, in 1974. It was recorded by the Armenian Philharmonic Orchestra (Armen Babakhanyan, Piano), in 1997 (ASV Records). Cello Concerto Composed in 1988, Tjeknavorians Concerto for Cello and Orchestra was dedicated to the memory of painter and poet Artur Ter-Harutyunyan. The first performance was given by the Armenian Philharmonic Orchestra in 1998 (Alik Chaushian, cello). It was also recorded in the same year. A version with solo cello, strings and piano also exists. Concerto for Guitar and Orchestra (Zareh) Composed in New York, in 1988, Tjeknavorians Guitar Concerto was dedicated to his son Zareh, as a present for his 18th birthday. It was premiered by guitarist Pepe Romero and the Nebraska Chamber Orchestra, in Omaha, Nebraska. The first European performance was telecasted on Austrian ORF TV, in 1991, with the Armenian Philharmonic Orchestra (Iakovos Kolanian, guitar). A recording was made in the same year, in Yerevan, Armenia. Concert for Pipa and Orchestra Composed in Vancouver, Canada, in 1987, Tjeknavorians concerto for Pipa (Chinese instrument) was written for Chinese Pipa virtuoso Qui Long. The first performance was given by Spokane Symphony Orchestra with Qui Long as the soloist. SONGS Love Songs for Soprano, Tenor and Orchestra Originally composed for soprano, tenor and piano in 1996, in Yerevan, Armenia, Tjeknavorians Love Songs feature texts written mostly by the composer, as well as some by poet Lyudvig Duryan. The English versions were written by Edward Manukyan. The first performance was given by sopranos Hasmik Hatsagortsyan, Nune Yesayan, Susan Margaryan, Raisa Mkrchyan, with tenor Yeghishe Manucharyan and the Armenian Philharmonic Orchestra in 1996

at Aram Khachaturian Concert Hall, in Yerevan. Love Songs for Soprano, Tenor and Piano Composed in 1996, in Yerevan, Armenia, Tjeknavorians Love Songs feature texts written mostly by the composer, and some by poet Lyudvig Duryan. The English versions were written by composer Edward Manukyan. MUSIC FOR WIND ENSEMBLE The following compositions have been arranged for wind ensemble: Armenia (Hayastan) Ararat Suite Dances Fantastic Love Songs Suite Pardis & Parisa Suite