Search - Karineh Hovhannessian :: The Music of Armenia, Volume 4: Kanon/Traditional Zither Music

Like the preceding collection, The Music of Armenia, Volume Three: Duduk, this volume features both an instrument and a collection of works that occupy a middle ground between folk and classical music. Like the duduk reed instrument, the kanon's place in Armenian music is broadly defined. Traditionally used by folk singers to accompany their song, now, the kanon is taught in the music conservatories of Armenia with the same rigor and care as the violin or piano. Its repertoire includes ancient epic songs, folk dances, arrangement of sacred chants, and composed works that reflect the Western or Arabic classical traditions. It seems like the instrument was first used as accompaniment to minstrel songs or to the recitation of epic poetry; but the versatility of the modern instrument enabled some of the more curious and virtuosic kanon players of the 20th century to draw freely from the full range of Armenian music.Many of the pieces recorded here by Karineh Hovhanessian are simply instrumental transcriptions of what were originally vocal works. Some of them are from the ashugh tradition, referring to the troubadour poet-musicians who wandered through Armenia from the 17th century through the 19th.The following tracks offer a sampling of Karineh Hovhannessian's diversity with the kanon: Eshkhemed (track 11) has a bittersweet quality reminiscent of some Irish or medieval European troubadour music. Tokat (track 15), a surprising arrangement for solo kanon by Karineh Hovhanessian is a swirling harp-like fantasy that brings to mind the watery Impressionism of Debussy. Otar-amai champeki vra (track 16) is a moody musical landscape for kanon and duduk drones.