Avet terterian biography definition
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Terteryan, Avet
Terteryan, Avet, Azerbaijani composer and teacher; b. Baku, July 29, 1929; d. Yekaterinburg, Dec. 11, 1994. He received training in composition from Mirzoyan at the Yerevan Cons. (1952-57). In 1970 he joined its faculty as an instructor, and in 1983 he became a prof. Tertery-an’s music is made forceful with ancient sonorities, employing a dramatic character that verges on barely controlled chaos. His influences range from Armenian pagan rites to Western 12-tone dodecaphony The backbone of his relatively small output, his syms., explore paths that were daring in the Soviet Union of the 1970s, often given solo roles to folk instruments such as the duduk, zurna, and kemancha.
Works
dramatic: The Ring of Fire, opera (1967; rev. 1977); Monologue Richard III, ballet (1977-79); The Earthquake in Chile, after Kleist (1986). ORCH.: 9 syms: No. 1 for Brass, Percussion, Piano, Organ, and Bass Guitar (1969), No. 2 for Men’s Chorus, Mixed Chorus, and Orch. (1972), N
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Terterian Symphonies Nos. 3 & 4 Voices from the East
Avet Rubeni Terterian’s Third and Fourth symphonies place focus on the self-immersion of music, their grund being the contemplation of human existence, its meaning, especially in response to tragedy.
In particular, Symphony No.3 conveys a sense of tragedy as Terterian was battling with grief after the loss of his brother in 1975, it was composed and performed by the Armenian Symphony Orchestra, led by David Khandijan, in the same year. The symphony was awarded the State Prize of the Armenian Soviet Socialist Republic in 1977.
Symphony No.4 was composed in the following year and was dedicated to David Kandijan after his performance of the Third Symphony. This work deals with mourning in a much more anställda way and generally has a slower tempo than it’s predecessor, however it also takes the listener on a journey through Terterian’s imagination.
'Terterian's music represents a unique combinat
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AVET TERTERIAN
Symphonies 7 & 8Avet Terterian Symphonies 7 & 8
Between 1969 and 1989, Terterian composed 8 Symphonies that can be regarded as one homogenous body of work. These are 8 chapters of a grand epic that deal with the eternal questions concerning our earth and the universe, nature and God, mankind and individual, good and evil, life and death. In this respect, Terterian continued the genre’s grand tradition established by the likes of Beethoven, Mahler, Skrjabin and Shostakovich, who treat a symphony not only as the expression of a musical, but also as a deeply philosophical world view.
“The music never ends,” Terterian said in one of his last interviews. “Nothing and no one can stop the flow. It is programmed… and as far as the means used by the composer are concerned, it is possible, while searching for additional expressive power, for certain phenomena to surface. These phenomena can lead to a contradiction with something. I would compare it to th