scores of the armenian composers: duduk with chamber orchestra

SCORES OF THE ARMENIAN COMPOSERS

DUDUK WITH CHAMBER ORCHESTRA

DUDUK WITH CHORUS

DUDUK WITH CHAMBER ENSEMBLE

RU/2007/CLT/ARM/DUDUC/1

2007

Current publication is organized by SSAFM and the Ministry of Culture and Youth Affairs of RA.

Produced with the support of UNESCO and the Japanese Funds-in-Trust for the Preservation and Promotion of Intangible Cultural Heritage. The authors are responsible for the choice and the presentation of the facts contained in this publication and for the opinions expressed therein, which are not necessarily those of UNESCO and do not commit the Organization.

INTRODUCTION

Current publication contains scores of the Armenian composers in which duduk was used with

chamber orchestra, choir, and within different chamber ensembles. Except these scores there are several other compositions of the Armenian composers with use of

duduk, such as Avet Terteryans Symphony no.3 (1978, publisher Sikorsky) that has been performed in Armenia, Russia and Europe, Stepan Rostomyans symphony no.4, which has been performed in Armenia, Russia, and Europe (can be found at [email protected]), as well as Vache Sharafyans Morning Scent of the Acacias Song version for duduk and string quartet (played in USA and Europe) and Ascending Kyamancha for duduk, zurna, cello & piano (the first can be found at G. Schirmer and the second is available from [email protected]).

All the orchestral parts of the included in publication compositions are available and can be found at authors or SSAFM [email protected]

*** I. The first chapter of the current publication DUDUK WITH CHAMBER ORCHESTRA contains

the following five compositions: 1. Vache Sharafyan: Morning Scent of the Acacias Song for duduk, soprano and

chamber string orchestra (2001). It is the orchestral version of the piece commissioned for the Silk Road Project Inc. in 2000, which originally was written for duduk and string quartet (publisher is G. Schirmer, Inc). Duration is 17 min. Starting from 2001 both versions of this piece has been performed by Silk Road Ensemble and dudukist Gevorg Dabaghayn in France, Brussels Philharmonie, Cologne Philharmonie, as well as with Xenia quartet in Turin (Italy), with Colin Jacobsen and his quartet in New York, by NCOA (cond. R. Asatryan) in Armenia, by Trans Caucasian chamber orchestra in Tbilisi (cond. U. Berkemer). The premiere of the orchestral version was played by Silk Road Ensemble in Carnegie Zankel Hall in 2004. The soprano part is not compulsory and should be sung from offstage, preferably from some upper place in the hall. For the parts contact G. SCHIRMER, Inc and author. Recording is available at [email protected]

2. Vache Sharafyan: Concerto Surgite Gloriae for solo viola, duduk, boy soprano,

baritone and chamber orchestra (French horn, bell and strings) 2005; duration 21 min. This piece is dedicated to Yuri Bashmet, who premiered that with Moscow Soloists at Elba Festival on September 4, 2007 as well as in Moscow Conservatory Grand Hall season opening on September 19, 2007. The orchestral parts available at [email protected]

3. Vache Sharafyan: 11 Arrangements and Transcriptions by Komitas for duduk, (few with dhol/drum) and chamber string orchestra (2006). Duration 18 min. This piece also has version for duduk with string quartet and CD with that version is going to be released in 2008 by Traditional Crossroads in New York. This cycle consists of the transcriptions from Komitas and modern arrangements of the folk tunes by Sharafyan. The premiere of the orchestral version was played by Gevorg Dabaghayn and NCOA orchestra (cond. A. Gharabekian) in April 2007 in Chatelet de Paris, France and after that more 5 performances were made in France and Russia. Recording and the orchestral parts are available at [email protected]

4. Ruben Altunyan: Hallow Land for duduk, zurna and chamber string orchestra

(2000); duration is 13 min. This piece was written for NCOA and premiered by Gevorg Dabaghyan with NCOA (cond. A. Gharabekian) in 2002 in Komitas chamber music hall in Yerevan. NCOA performed that as well with dudukist Ararat Dallakyan in Lincoln Center in

3
mailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]

New York, in Germany and France. The orchestral parts and the recording are available at c/o [email protected]

5. Eduard Hayrapetyan: From Afar for duduk and chamber string orchestra (1999).

This piece was premiered in 2000 by Gevorg Dabaghyan and NCOA (cond A. Gharabekian) in Komitas Chamber Music hall in Yerevan. Later it was played also with duidukist Ararat Dallakyan. The orchestral parts and recording are available at [email protected] or [email protected] ***

II. The second chapter DUDUK WITH CHOIR contains the following two compositions: 1. Vache Sharafyan: Tsov Kentsaghuis (the sea of our life is troubling me) for mix

choir or vocal quartet and three duduks (2003). This piece is based on the sharakan (Armenian sacred hymn) by St. Mesrop Mashtots (5th C) the inventor of the Armenian alphabet. The duduk parts could be used as life or prerecorded (available at [email protected]) This piece was recorded by Hover choir and Dabaghyan duduk trio and CD was released by WEM radio in Boston.

2. David Haladjian: Die Austreibung Der Menshheit for duduk and choir (2005) is based on Armin T. Wegners text about deportation of the Armenians in October 1916. This piece was premiered in Armenia by Gevorg Dabaghyan and Chamber Choir (cond. R. Mlkeyan). For recording contact the author [email protected]

*** III. The third chapter DUDUK WITHIN CHAMBER ENSEMBLES contains the following two

compositions by Vache Sharafyan: 1. The Sun, the Wine and Wind of Time for duduk, violin, cello and piano (1998);

duration 16 minutes. This piece was premiered with dudukist Gevorg Dabaghyan in 1999 at Two Days & Two Night international festival in Odessa and later was chosen by great cellist of our days Yo-Yo Ma and was played by him with Gevorg Dabaghyan, violinist Colin Jacobsen and pianist Joel Fan in Carnegie hall, Chicago Symphony space, Berkley and Stanford Universities, Seattle Benaroya Hall, Washington National Mall, Cologne Philharmonie, Amsterdam Concertkgebouw, Florence, Milan, Rome.

The New York Times (by Allan Kozinn, May 9, 2002) wrote: "And the Shostakovich, on Tuesday, seemed to flow naturally from the world of the work performed just before it -- ''The Sun, the Wine and the Wind of Time'' by Vache Sharafyan, from Armenia

Chicago Tribune (12. 18. 02) wrote about The Silk Road Ensemble at Chicago Orchestra Hall: "...But the most wonderful piece on the program was "The Sun, the Wine, and the Wind of Time" (1998) by the Armenian composer Vache Sharafyan. The score derived much of its ineffable sadness from the duduk, an oboe-like instrument whose quivery, throaty sounds were framed by piano (Joel Fan), violin (Colin Jacobsen) and cello (Ma). The seamless evolution of moods and texturesfrom soft, somber lines made up of pained intervals, to more violent outbursts, back to mournful linesmade it entirely absorbing to the ear and mind..."

SAN FRANCISCO CLASSICAL VOCE wrote: (April 30, 2002, Robert Commanday, Senior Editor)The issue with a cross-cultural composition is one of criteria. By what standard and in what aesthetic is the work to be

perceived? It must be the product of a real and gifted composer, strong enough a composition to establish its own measure, as Takemitsus pieces are. To an extent, Vache Sharafyans The Sun, the Wine, and the Wind of Time (from Armenia, 1998) created its own time and space. The western tradition was reflected in its overall song-form structure and writing for piano, violin and cello

CD of Vache Sharafyan On the Fortieth Day with this composition released by Traditional Crossroads in New York in 2002.

Parts available at [email protected] 2. My Lofty Moon for duduk, zurna, Arabic qanun, Japanese sho, Chinese sheng,

flute, clarinet, percussion, harp, violin, viola, cello & c-bass (2006). Duration is 10 min. Commissioned by Atlas Ensemble and premiered on January 23 2007 in Amsterdam Muziekgebouw; cond Ed Spanjaard. Recording and parts are available at [email protected]

4
mailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]

The Morning Scent of the Acacia's Song

Vache Sharafyan(2001)

FOR DUDUK, SOPRANO & STRING ORCHESTRA

This is the orchestral version of the piece commissioned for The Silk Road Project, Inc.

G. SCHIRMER, Inc.

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The Morning Scent of the Acacia's Song


This is the orchestral version of the piece commissioned for The Silk Road Project, Inc.

FOR DUDUK, SOPRANO & STRING ORCHESTRA

[orchestral version]

*

* - soprano part should be sung offstage, from the upper place in the hall.

Publisher - G. SCHIRMER, Inc

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G. SCHIRMER, Inc.

Vache Sharafyan (2005)

for solo Viola, duduk, corno in F, campana F#, discantus, baritone & string orchestra

" S U R G I T E G L O R I A E "

Contacts:tel: (374 10) [email protected]@inbox.ruhttp://sharafyan.tripod.com

Dedicated to Yuri Bashmet

39
mailto:[email protected]:[email protected]://sharafyan.tripod.com

Duduk *Corno (F) *

Campana (F#) not compulsory *BaritoneDiscantus *Solo Viola *Violini 1Violini 2 VioleV-celliC-basso

In this piece I used the Latin translation of the text of the sacred hymn by St. Nerses Shnorhali (12th C) "Zartiq Parq im" (Surgite Gloriae). St. Nerses Shnorhali (Nerses the Graceful) was the great Armenian philosopher, musician, and writer. He was the Catholicos of Armenia in 1166-1173.St. Nerses Shnorhali is an author of hundreds of sharakans (Armenian sacred hymns), author of most of the melodies of the Armenian Orthodox Liturgy.

Latin version of the text (translated by Benedek Zsigmond):

1. Surgite, gloriae, Et exsurgam diluculo, alleluia.2. Surgite, vigiles, Pueri Sionis caeli, alleluia.3. Surgite, filii, Et psallite lucis Patri, alleluia.4. Surgite, redempti, Laudem date Redemptori, alleluia.5. Surgite, populi, Novum cantum Creatori, alleluia.6. Surgite, animae, Sancto Sponso venienti, alleluia.7. Surgite, una cum Prudentibus virginibus, alleluia.8. Surgite, parate Lampades cum lacrimabus, alleluia.9. Surgite, somnio Non cadentes obstupentes, alleluia.10. Surgite, adorate, Lacrimati hoc clamate, alleluia.

Zarfiq, 4a5q im, zarfiq,Yv ys zarfeax a5av=t0x, alel0ia;

Zarfiq und z0arf0ns,Mank0nq werinn Sioni. alel0ia;

Zarfiq, ordiq l0so3,I 3orhn0fivn H=rn l0so3. alel0ia;

Zarfiq, 4rkyalq aryamb,Yv t0q z4a5s 4rko[in. alel0ia;

Zarfiq, nor jo[ow0rdq,Nor yrgs a5yal norogo[in, alel0ia;

Zarfiq, hars0nq, hogvowSpasyal galo3 s0rb 4ysa3in.alel0ia;

Zarfiq, wa5yalq l0sow,Ust imast0n s0rb k0sanaxn. alel0ia;

Zarfiq, patrastyxyq iv[ laptyraxZ|yrm artas0s, alel0ia;

Zarfiq 9 mi nn\yq`Nman 3imar k0six nirhyq. alel0ia;

Zarfiq, yrkir pagx0q,Yv artas0=q za3s asasx0q, alel0ia;

S.

40

Duduk

Solo Viola

Contrabass

Violini I

Violini II

Violoncelli

Viola

~ 58, Rubato

~ 58, Rubato

3

S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

div.

5

3

3

div.

3

CONCERTO"Surgite Gloriae"


Sharafyan

FOR SOLO VIOLA, DUDUK, CORNO (F), BOY SOPRANO, BARITONE, CAMPANA (F#) & STRING ORCHESTRA

Dedicated to Yuri Bashmet

41

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42

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47

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48

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53

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56

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poco a poco cresc.

poco a poco cresc.

3

poco a poco cresc.

poco a poco cresc.

3

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3

3

49
Vache SharafyanTypewritten Text49

S.Vla.

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Vln.II

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poco a poco cresc.

poco a poco cresc.

poco a poco cresc.

59

+

3

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3

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3

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poco a poco cresc.

poco a poco cresc.

3

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,

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, 3

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62

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3

3

#espressivo

#espressivo 3

3

3

3

3

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3

3

3

3

3

3

3

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3

3

3

3

3

3

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50

S.Vla.

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65

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Duduk in C

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

* (poco rubato)

3

3

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S.Vla.

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Vln.II

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Vla.

68 5

3

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5

3

3

3

3

3

3

3 3

3

3

3

* The duduk part is metrically free part. There is no strict metrical dependence between the duduk and orchestra, the places are noticed approximately.

51

S.Vla.

Cb.

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Vln.II

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71 5

3

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743

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5

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52

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77

3

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3

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3

3

3

3

espressivo

#espressivo 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

S.Vla.

Cb.

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Vln.II

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Vla.

80

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 3

3

3

3

Glissando

53

S.Vla.

Cb.

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Vln.II

Vc.

Vla.

Duduk in C

83

3

3

3

3

3

5

3

3

3

3

3

3

3 3

3

3

3

S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

86 5

3

3

3

3

3

5

3

3

3

3

3

3

5

3 3

3

3

3

54

S.Vla.

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Vln.I

Vln.II

Vc.

Vla.

893

3

3

3

3

3

#espressivo

#espressivo

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

S.Vla.

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Vln.II

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Vla.

92

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

$Duduk in C

3

3

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3

3

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3

3

3

55

.

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.

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S.Vla.

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Vln.II

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$

$

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2

$

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$

$

95

3

3

3

3

3

3

3

3

3

3

3

3

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3

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3

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$

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3

3

3

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3

3

3

3

3

footfall

3 3

3

3

3

4 3

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4 -

3 3

3

3

3

4 3

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4 3

3

3

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4 3

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6

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5

3

6

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3

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6

3

5

3

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3

3

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6

3

5

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3

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3

4

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5 3

4

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3

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3

6 3

5

3

6

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3

3

3

6

3

5

3

6

/0.1.

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/0.1.

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/0.1.

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S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

$

$

5/16 = 80

5/16 = 80

98 -

7:5

8

7:5

5

6

6 6

6

6 6

6 6

6

6 6

6

6 6

6 6

6 6 6

6

7:5

7:5

4 4 4

6 6 6

6 6

6

4 4 6

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7:5

3

4

6

6

6

6

56

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S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

1017:5

footfall

7:5

6

6 6

6

6 6

6 6

6

6 6

6

6 6

6 6

6 6 6

6

Corno in F (written in C)

#

7:5

7:5

4 4 4

6 6 6

6 6

6

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6 6 6

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4

6 6

6

6

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S.Vla.

Cb.

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Vln.II

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Vla.

(Corno)

231

104

104

7:5

footfall

7:5

6

6

4

6 6

6 6

6 6

6

6 6

6 6 6

7:5

%

4 4 4

6 6 6 6

6 4

6 6

4

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7:5

%

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6 6 6

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4

6 6 6

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S.Vla.

Cb.

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Vln.II

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Vla.

107

1077:5

7:5

6

4 4

6 6

6

6 6 6

6 4 4

6 6

7:5

7:5

4 4 4 4

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4 4

4 4 4 4

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7:5

4

4

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57

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S.Vla.

Cb.

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Vln.II

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Corno

110

7:5

footfall

7:5

6

6 6

6

6 6

6 6

6

6 6

6

6 6

6 6

6 6 6

6

2

13

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7:5

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S.Vla.

Cb.

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Vln.II

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Vla.

113

7:5

footfall

7:5

6

6 6

6

6 6

6 6

6

6 6

6

6 6

6 6

6 6 6

6

#

7:5

7:5

4 4 4

6 6 6

6 6

6

4 4 6

6 6 6

7:5

%

4

6 6

6

6

/0.1.

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S.Vla.

Cb.

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Vln.II

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Vla.

116

7:5

footfall

7:5

6

6

4

6 6

6 6

6 6

6

6 6

6 6 6

7:5

%

4 4

6 6 6

6

6 6

6 6 "

7:5

%

4

6 6

6

6

58

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S.Vla.

Cb.

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Vln.II

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(Corno)

119 7:5

7:5

6 6

4

6 6 6

6 6 6 6 6

4

6 6 6"

7:5

7:5

6

6

4

6 6

6

6 6

4

4

6

4

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S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

#122

7:5

4

4

4 4

4

7:5

footfall

7:5

6

6

6

6 6

6 6

6

6 6

6

6 6

6 6

6 6 6

6

7:5

7:5

4 4 4

6 6 6

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6

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S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

125

7:5

%

4

6 6

6

6

7:5

footfall

7:5

6

6

6

6 6

6 6

6

6 6

6

6 6

6 6

6 6 6

6

7:5

7:5

4 4 4

6 6 6

6 6

6

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6 6 6

59

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S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

#(Corno)

128

7:5

%

4

6 6

6

6

7:5

footfall

7:5

6

6

4

6 6

6 6

6 6

6

6 6

6 6 6

7:5

%

4 4

6 6 6

6

6 6

6 6

/0.1.

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S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

131

7:5

%

4

6 6

6

6

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7:5

6

4

6 6

6 6 6

4

6 "

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S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

div. in 2

134

7:5

7:5

44 4 4

6 6

4

4 4 4

4 4 4

6 4

7:5

4

4

4 4

4

#

7:5

footfall

7:5

6

6 6

6 6

6

6 6

6

6 6

6

6 6 6

60

/0.17

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S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

(Corno)

137

7:5

%

4 4

6 6

6

6

6 6

66

7:5

%

4

6

6

6

6

7:5

7:5

6

4

6 6

6 6 6

4

6 6"

S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

#140

7:5

7:5

6

6

4

6 6

6

6 6

4

4

6

4

6 6

7:5

7:5

4 4 4 4

6 6

4 4

4 4 4 4

4 4 4 4

6 4 4

7:5

7:5

6

6

4

6 6

6

6 6

4

4

6

4

6 6

/0.1

/0.1

/0.1

/0.1

/0.1

/0.1

/01.

/01.

/01.

/01.

/01.

/01.

/0.1

/0.1

/0.1

/0.1

/0.1

/0.1

S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

143

7:5

7:5

4 4 4

6 6

4

4 4 4

4 4 4

6 4

7:5

5:3

4 4 4

4 6 6 4 6

64 6 6 4 4 4

3

3 3 3 3

61

/0.1

/0.1

/0.1

/0.1

/0.1

/0.1

/01.

/01.

/01.

/01.

/01.

/01.

S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

(Corno)

Duduk

146 7:5

5:3

4 4

4 6 4 6

4 6 4 4

3

3 3 3 3

S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

Duduk in C149

-

-

-

5

!

-

-

S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

152

6

5

! 6

5

!

62

S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

1575

-

3

S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

160

3

alla puntasul pont.

V-cello 2 solo

5

9 9 9 9 9 9

.

.

.

.

.

.

.

.

.

S.Vla.

Cb.

Vln.I

Vln.II

Vc.

Vla.

:;**

:;**

solo

165

>

>

>

>

>

Duduk in H

Violin I

Violin II

Viola

Cello

Contrabass

?MN

?MNpizz.

pizz.

pizz.

!

!

!

!

!

!

!

arco

!

!

"

"

D-k (H)

Vln. I

Vln. II

Vla.

Vc.

Cb.

arco

pizz.

arco

!

!

7 7

7

!

!

!

"

"

pizz.

arco

pizz.

pizz.

for the end make diminuendo disapearing at "Fine"

for the end make diminuendo disapearing at "Fine"

SONA YAR

Komitas (arr. Sharafyan)

FOR DUDUK & STRINGS

95

D-k (H)

Vln. I

Vln. II

Vla.

Vc.

Cb.

!

!

!

(possible to repeat the section from bar 13 till 16 twice at the end)

(possible to repeat the section from bar 13 till 16 twice at the end)

13 13

13

!

!

Fine

Fine Fine Fine Fine Fine

arco

!

!

"

"

D-k (H)

Vln. I

Vln. II

Vla.

Vc.

Cb.

pizz.

!

!

19 19

19

arco

!

!

"

"

pizz.

!

!

!

Da capo

Da capo Da capo Da capo Da capo Da capo

96

7

7

7

7

7

7

Duduk in Bb

Violin I

Violin II

Viola

Cello

Contrabass

?UP

?UP"

div.

"

D-k Bb

Vln. I

Vln. II

Vla.

Vc.

Cb.

div.

6

6

div.

unis.

"

EN DIZAN

Vache Sharafyan2006

FOR DUDUK & STRINGS

97

>

>

>

>

>

>

Duduk in Bb

Violin I

Violin II

Viola

Cello

Contrabass

1

1

1

1

1

con sord.

con sord.

con sord.

con sord.

con sord.

poco sul pont.

poco sul pont.

?NS

D-k

Vln. I

Vln. II

Vla.

Vc.

Cb.

5

5

fine

finefinefinefine

fine

ERVUM EM

arr. Vache Sharafyan

FOR DUDUK & STRINGS

98

8

8

8

8

8

8

Duduk in Bb

Violin I

Violin II

Viola

Cello

Contrabass

?VN

?VN(

" E

D-k

Vln. I

Vln. II

Vla.

Vc.

Cb.

3 1,2,33

Q3 1,2,3

1,2,33

1,2,3

Q1,2,3 Q

3 1,2,3 Q

4-fine3

4-fine 4-fine

3 4-fine

Q 4-fine 4-fine

LUSNAKN ANUSH

Komitas (arr. Sharafyan)

FOR DUDUK & STRINGS

99

7

7

7

7

7

7

7

Duduk

Violin I

Vln. I 4 solo

Violin II

Viola

Cello

Contrabass

(

(

(

con sord

con sord

con sord

con sord

con sord

"

alla punta; sul pont.; freelysul Mi

(

H H H H H H H

"

sim.

" H H H H

D-k

Vln. I

solo

Vln. II

Vla.

Vc.

Cb.

5 5

"

(

H H H H H H H

"

ES GISHER

arr. Vache Sharafyan

"tonignt"

100

D-k

Vln. I

solo

Vln. II

Vla.

Vc.

Cb.

alla punta; sul pont.; freely

9 9

" H H H H H H

"

D-k

Vln. I

solo

Vln. II

Vla.

Vc.

Cb.

1

12 12

" H H H H

morendo

rit.

rit.

rit.

rit.

rit.

rit.

Coda

101

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

Duduk

Violin I

Violin II

Viola

Cello

Contrabass

?UP

?UP

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

D-k

Vln. I

Vln. II

Vla.

Vc.

Cb.

9 9

!

ERKNITS, GETNITS

Komitas (arr.Sharafyan)

FOR DUDUK & STRINGS

102

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

D-k

Vln. I

Vln. II

Vla.

Vc.

Cb.

17

17

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

>

D-k

Vln. I

Vln. II

Vla.

Vc.

Cb.

26 26

0

0

0

0

0

103

Hallow Landfor duduk, zurna, chamber string orchestra & bells

Ruben Altunyan (2000)

dedicated to Alida Yekaryan

105

Violin I 1

Violin I 2

Violin II 1

Violin II 2

Viola 1

Viola 2

Violoncello

Contrabass

Bells

Moderato, agitato

div.

div.

div.

div.

DudukZurnain C

3

3

3

3

3

3

3 unis.

Hallow Landfor duduk, zurna, chamber string orchestra & bells

Ruben Altunyan2000

to my wife Alida Yekaryan

107

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

4

3

3

3

3

3

3

3

3

3

3

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

9 9

3

Duduk

5

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

14 14

5

poco rit.

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

a tempo19 19

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

5 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

23 3 3 23

3

3

3

3

3

3

3

3

div.

5

5

5

unis.

3

3

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

28 28

3

3

6

6

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

33 3

33

soli

3

3

3

3

6

6

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

38 3

38

3

3

3

3

Poco piu mosso

3

Hallow Land
Vache SharafyanTypewritten TextVache SharafyanTypewritten Text111

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

42

42

5

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

46 3 3 3 3

46

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

50 50

3

3 3 3 3

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

55 55

poco rit.

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

a tempo61 61

3

5

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

66 66

5

accel.

3

3

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

70

70

6

6

6

6

6

6

Molto piu mosso

muta in Zurna

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

6

6

3

3

3

3

3

3

3

3

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

74

6

6

6

6

6

6

6

6

6

6 6

6

6

6 6

6

6

6 6

6

6

6 6

6

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

77 6

6 6 6

6

6 6 6

6

6

6

6 6

6

6

6 6

6

6

6 6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

79 79

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

div.

Zurna

6

6

6

6

6

6 6

6 6

6 6

6

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

!""""81 81

6

6

6

6

6

6

6

6 6

6

6 6

6

6 6

6

6

6 6

6

6

6 6

6

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

!"""""""83 83

6

6

6

6

6

6 6

6

6

6 6

6

unis.

6

6

6

6

6

6 6

6 6 6

6 6

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

div.

85 85

6

6

6

6

6

6

6

6 6

6

6 6

6

6

6

6 6

6

6

6 6

6

6

6

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

unis.

87

87

6

6 6

6 6 6

6 6 6 6

6 6

6

6

6

6 6

6

6 6

6

6

6 6

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

!"""" !""""89 89

6

6

6

6

6

6

6

6 6

6

6

6

6

6

6

6

6

6

6 6 6

6

6 6

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

91

91 6

6

6

6

6

6

6

6

6

6

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

div.

94 94

sub.

sub.

cresc.

cresc.

cresc.

cresc.

unis.

6 6

6 6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

6

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

!""""

97 97

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

6

6

3

3

3

3

3

3

3

3

6

6

6

6

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

!"""

#

#

#

#

101 101

$

$

$

$

# #

##

# #

# #cresc.

cresc.

cresc.

$ $

$ $

$ $

$ $

# #

##

##

##

$ $

$ $

$ $

$ $

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

Bls.

!"""""" !""" !""""

# #

##

##

##

104

104 $ $

$ $

$ $

$ $

104

# #

##

#

##

#

$

3

6

$ 3

6

$ 3

$ 3

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

Bls.

!""" !"""106 106

6

6

6

6

6

6

6

6

6

6 6

6

6

6 6

6 6 6

6 6

106

6

6

6

6

6

6

6

6

6

6 6 6

6

6 6 6 6 6 6 6

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

Bls.

!"" !""" !"" !""

!"" !"" !""" !""

108

108

6

6

6

6

6 6

6

6

108

6

6 6

6 6

6 6

6

div.

6

6 6

6 6

6 6 6

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

Bls.

!" !"unis.

111

6

6

6

6

111

111

6

6

6

6

$ $ $ $

$ $ $ $

$ $ $ $

$ $ $ $

$ $ $ $

$ $ $ $

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

Bls.

!" !" !""""""""114 114

114

div.

div. in 3

muta in Duduk

%

%

%

%

%

%

%

%

%

%

Tempo primo

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

Bls.

121 121

121

solo

solo

sola

solo

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

129 129

altri div.

altri div.

altri div.

altri

tuti div.

tuti div.

tuti div.

unis.

duduk

3

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

135

5

135

div.

5

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

Bls.

140 140

140

unis.

solo

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

Bls.

dim.

dim.

dim.

dim.

148 148

148

(non vibr.)

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

158

158

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

poco rit.

169 169

a tempo

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

Bls.

176 176

176

Hallow Land

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

Bls.

183 183

183

Vln. I 1

Vln. I 2

Vln. II 1

Vln. II 2

Vla. 1

Vla. 2

Vc.

Cb.

Bls.

190

190

190

Hallow Land

Eduard Hayrapetyan (1999)

for duduk and chamber string orchestra

From Afar

129

&

&

&

B

?

?

44

44

44

44

44

44

Duduk

Violini I

Violini II

Viole

Violoncelli

Contrabassi (2)

div.

div.

q

Partiturascritta in C

J@ U

j@ U

U

U

U

div.

# w

ww

w

# n w

ww

b

j@ .wb

ww

wn

Jb@ U

j@ U#

j@ U

U

U

..bU

# .. U

. U

U

U

&

&

B

?

?

43

43

43

43

43

44

44

44

44

44

7 b w#

wwb

w

# ..# U

b ..U

# .. U

U

U

###

b n w

ww#

j# @ ##

j@

j# @#

J@

p

p

p

.# .n .#

. .b .

..b .

@ @ b #@@ .

wwn

wwn#

From Afar for duduk & chamber string orchestra

Eduard Hayrapetyan1999

&

&

&

B

?

?

div.

13

b

#

b w#

wb

w

wwn

.j@ .b J

#@ .

jb @ .

.

j@ . .

p

P

p

p

P

P

piu mosso

wwb

3

3

w

wwN

w-

w-

a tempo

jb @ ..n

j@ ..b

J

j@ .

j@ .

j@ ..# j

@ ..

w

w

&

&

&

&

B

?

?

div.P

P

F

P

P

F

F

piu mosso

18

w

w

3

3

w

ww

w-

w-

F

f

F

F

F

f

f

j@ .U #

j@ .U

3

# 3

#

J U #

j@ .U

j@ ..#U

U

-

U

-

f

3

# 3

#

,-

- 3#

3

# -

w#

w#

ww

w

w

non div.

non div.

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155

Vache Sharafyan

Tsov Kentsaghuis (The sea of our life)

For Vocal Quartet or Mix Choir & Three Duduksbased on sharakan (sacred hymn) by St. Mesrop Mashtots (5th C)

***

David Haladjian

DIE AUSTREIBUNG DER MENSCHHEIT fr Duduk und Chor

NACH DEM GEDICHT VON ARMIN T. WEGNER Geschrieben in Meskene am Euphrat, Oktober 1916

im Angesicht der armenischen Deportation.

Vache Sharafyan /2003/

"Tsov Kentsaghuis" /The sea of our life is troubling me/for vocal quartet /counter-tenore, tenor, baritone and bass/ or mix choir and three duduks

based on sharakan/chant/ of St.Mesrop Mashtots /Vth Century/

)ys ifhvg8y7r lghg;gb bjr gn=iy0=/ To99o9ifgn gnj2 po4hgtjh jh6 7g9yuvgh=/ Hgug;fk eg9j nf9 gh6jh jty7 g;gu=h/ J lgteg5hgn jtyut g5 2fb bgcr jt 1dhfg jh6, K=9/ J 719hyupjuh hy9 19lhfrvyu2 ob2fb, @9jrkyr wo9ijc tf9/ G7vfnyu tf9 fu wo9ijc ifvy bgh6jhr tf9/

T>Tg4kyv

E-mail: [email protected]://sharafyan.tripod.com

The sea of this life is troubling me.The enemy inflicts on me stormy waves.Kind Captain I set my hope upon you.While my eyes rise to you help me o Lord.In new blessing we glorify you our Savior, Jesus.Our visitor and Savor give us life.

St.Mesrop Mashtots /Vth Century/

159
mailto:[email protected]://sharafyan.tripod.com

Duduk 1.in Bb

Duduk 2in Bb

Duduk 3in Bb

Sorano

Alto

Tenor

Basso

Tsov ken -

Tsov ken -

Tsov ken -

Tsov ken -

tsa-ghuis

tsa-ghuis

tsa-ghuis

tsa ghuis

ha-na - paz

ha-na - paz

ha-na - paz

ha-na - paz

zis a- le -

zis a- le -

zis a- le -

zis a- le -

ko - tse.

ko - tse.

ko - tse.

ko -

)ys ifhvg8y7r>>>

Vache Sharafyan/2003/

Sharafyan

Tsov Kentsaghuis

based on sharakan /chant/of St. Mesrop Mashtots /Vth Century/

for vocal quartet or choir & three duduks

*-Duduk parts can be life or prerecorded. For prerecorded contact the author [email protected].

*

160
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"

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"

scores of the armenian composers: duduk with chamber orchestra

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