Eduard Aslanovich ABRAMIAN (1923-1986)
Twenty-Four Preludes for Piano
Mikael Ayrapetyan (piano)
rec. Grand Concert Hall of Moscow State University of Culture and Arts,
Moscow, Russia, 27-28 January 2012.
World première recording
GRAND PIANO GP 665 [60:37]
Grand Piano’s declared aim is to record the piano music of a whole host of
less well known or completely unknown composers. This release is adequate
proof of the fine job they are making of it for we have Armenian composer
Eduard Abramian’s 24 preludes which have never before been recorded. It is
the third disc of Armenian composers from Grand Piano that has come my way
in the last few weeks following those of Babadjanian and Bagdasarian). This certainly shows the label's
commitment to the project. What is particularly pleasing is that it opens up
music from Armenia and shows that there is lot more to it than we had
previously thought when the only names we knew representing that country
were Khachaturian and Arutiunian or Alan Hovhaness the Armenian-American
composer.
It seems that Abramian’s total output was relatively small and that the
piano dominates which is hardly surprising when you learn that he was a
formidable pianist which is attested to by these preludes. The booklet notes
point out that in fact these preludes explore all the keys bar two since two
are repeated, an interesting fact but one that certainly does not detract
from what is a set of the most appealing piano music. As an active member of
the Armenian Composer’s Union he participated in meetings all over the
country which enabled him to become familiar with the traditional music of
every region. These 'voices' he incorporated into his own.
Indeed you only have to be able to recognise the Armenian flavour in music
to hear it in each and every piece here. There is no doubt that it adds to
their intrinsic attraction. However, there is never a sense that Abramian is
wallowing in nostalgia in these pieces but simply that native Armenian folk
music is a rich vein to be mined in the creation of original material.
As the late Malcolm MacDonald rightly says in his notes it is difficult to
pick out highlights from such a “richly-woven musical tapestry” though he
does select six for special mention. Any would do to emphasise Abramian’s
easy facility to write a good tune. All of them are straightforward and
honest with a beguiling simplicity and without any sort of artifice. I found
no.3 a particularly good representative of Armenian traditional dance while
no.4, which he dedicated to his mother, is an extremely affecting and
emotional piece better able to express love than words could ever do. Shades
of Rachmaninov are to be discerned when Abramian sounds ‘romantic’ as he
does in nos. 5, 6 and 13 but one has the impression that he does not often
expressly set out to be romantic in that way. His no.21 is a much faster
piece, full of high octane interest as is his rhythmically complex no.23.
Every note in each prelude is genuinely felt and honestly expressed. I found
the disc an absolute pleasure and a joy to listen to from beginning to
end.
How much more music by Abramian remains to be discovered? I don’t know but
these lovely preludes are a brilliant introduction and any lover of piano
music will find this CD a thoroughly rewarding experience. Mikael Ayrapetyan
plays all of it with due reverence for his compatriot’s music as he did with
Bagdasarian’s set of 24.
Steve Arloff
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