L'Orchestre du Centenaire

Avestis et Anna GYOGCHYAN, violoncelliste et violoniste

Les époux GYOGCHYAN ont rejoint l'Orchestre du Centenaire: 

Avetis was born and educated in Armenia. During career he has toured in EU, USA, Canada, Middle East, Russia, Australia as soloist or concertmaster of different ensembles/orchestras such as Philharmonia Europa/USA, Armenian String Virtuosi etc.

Avetis was awarded 1^st prize for best performance in Hovarts Contemporary Music Competition/USA/ in 1994.

In  recitals where he appeared as soloist he performed on various stages and countries  cello music from Bach to contemporary authors, such as ever rare performed solo pieces by E.Ysaye ,S.Prokofiev, etc. The performance of Tchaikovski-Rokoko, D.D.Shostakovich Cello Concerto #1,#2, C.Saint-Saens #1  and many more with different orchestras and conductors received critically acclaimed reviews. In London recital managed by ArrivaDiva agency Avetis presented as Rare Star Cellist.

Very recently  under baton of conductor Jordi Mora Avetis performed World Premiere of Cello Concerto by Aballah el Masri.

Anna was born and educated  in Yerevan Armenia. During her graduate and postgraduate  studies  she took masterclasses at world known artists Kim  Kashkashian, Peter Oundjian, Ruben Aharonian.

She toured in EU, USA, Canada, Australia, Middle East, Russia, Kazakhstan with various orchestras and ensembles. As member of Ani String Quartet she won the 1t prize in International String Quartet Festival in Alma-Ata, Kazakhstan  2001.

As soloist of Armenian  String Virtuosi Anna had critically acclaimed performances in Royal Festival Hall(London), St.Sulpis Church(Paris), Carnegie Hall, (NY), UN, Brisbane Festival (Australia), Rudaki Hall(Tehran),UNESCO Hall(Beirut), Aram Khachaturian Hall(Yerevan) etc.

In 2007 Anna contracted with Lebanese Higher Conservatory of Music and at  present she is concertmaster of viola section of Lebanese Philharmonic orchestra. Anna plays on viola made by Arty Iskandarian

Paul APELIAN

Paul Apelian was born in Tarare in the Rhone region of France, where he initiated his musical studies, continuing on to the National Conservatory in Lyon, then to the National Superior Conservatory in Paris. There he obtained first prize in Clarinet and  first prize in Chamber Music.

He accomplished his third cycle of Chamber Music in the class of Christian Lardé. Throughout his musical studies, he is drawn to composing, teaching, orchestra playing and is moved by the inner side of Chamber Music.

In 1979, Paul Apelian is named Principal Clarinet of the Orchestre National de Montpellier, Languedoc-Roussillon.   Since then, he has played regularly as soloist with the orchestra as well as with other Parisian and European orchestras. In keeping with his love of Chamber Music, he has played with members of the Orchestre de Paris, Paris Opera, and in recital.

Paul Apelian has recorded many discs for Radio France, and is a member of the Montpellier Orchestra Wind Quintet. He has been invited as soloist in many festivals including the Korean and North African Music Festivals.

INTERVIEW de Michel Petrossian - Pourquoi as-tu accepté de composer une oeuvre originale à cette occasion ?

"Trois raisons majeures, hormis les raisons évidentes de l’histoire personnelle.

L’onde de choc qui se préparait avant 1915 et qui a culminé alors s’en ressent encore aujourd’hui, et je dirais que par delà l’aspect politique et social extérieur c’est un choc des profondeurs, puisqu’il suscite d’innombrables questions à vocation universelle. Des questions sur l’identité, sur le mystère du mal, le mystère opaque comme l’appelait Paul Ricoeur, sur le rapport à l’autre qui n’est pas soi, sur la dimension spirituelle de la violence et de la justice…

Pour encaisser ce choc, pour négocier ces questions, il faut des exutoires puissants qui peuvent précisément nous déplacer et ouvrir à une nouveauté vie – écrire une œuvre nouvelle qui jugule des énergies variées est alors un privilège immense.

En même temps, dans l’esprit des organisateurs et de tous ceux qui portent le projet, il s’agit là d’un concert desvivants et non des survivants. C’est très important pour moi ! La conjugaison des énergies artistiques d’interprétation et de création pourront manifester la plénitude d’une culture aux ramifications multiples, et c’est en soi une affirmation d’espoir et de vie, une énergie positive qui annule de fait la visée ultime du génocide.

Les deux premières raisons de mon écriture peuvent donc être deux tentations : d’abord celle d’éviter la douleur et la souffrance, par peur du  « déjà-vu » victimisant qui isole et qui peut passablement énerver ceux qui sont plus ou moins extérieurs aux événements de 1915. Mais une deuxième tentation c’est, une fois plongé dans la douleur, d’y rester, de se complaire, de trouver sa raison de vivre et de perpétuer la mort, paradoxalement, – de choisir pour la résidence « la vallée des ténèbres de la mort »…

Donc, mes deux premières raisons sont négocier la douleur et affirmer l’espoir.

La troisième raison d’écrire une œuvre, c’est de fonder une nécessité.

En effet, dans notre société l’Art – et la musique contemporaine en particulier,-  occupe une place paradoxale. Sa présence est indéniable, mais sa raison d’être est sans cesse négociée, car sa nécessité peut être questionnée. L’Art doit-il être réservé à des élites suffisamment raffinées pour l’apprécier, ou doit-il perdre de ses exigences pour embrasser plus large et justifier son financement parfois lourd ? Est-il un lieu de divertissement ou d’investissement principalement? Chez les Anciens, en Grèce par exemple, l’Art avait des fonctions multiples, - sociale, philosophique, religieuse, scientifique, rituelle… - qui ne sont pas toujours apparentes aujourd’hui. Et l’on peut dire sans exagérer que dans la culture arménienne la musique est l’âme de la nation, dans sa composante spirituelle à valeur unique, comme dans le chant traditionnel, conservatoire vivant de la mémoire qui a préservé jusqu’aux échos de l’Arménie pré-chrétienne…

Certes l’Art nécessite de grands moyens pour se réaliser, et dans le cas de notre projet le concours de tous les partenaires est inestimable. Mais dans sa visée ultime l’Art doit procéder pour moi d’une sorte de nécessité plus globale que lui-même, et en dehors des considérations de type marketing. Il doit retrouver, j’ose le mot, une vocation prophétique : dire sur nous et sur le monde, à partir de la béance du mal éventuellement, quelque chose qui nous dépasse et qui nous révèle la beauté par surprise, comme une grâce inattendue.  

A l’occasion du Centenaire, il y a manifestement une attente collective et multiple qui, pour moi, fonde cette nécessité et crée un moment historique unique.

J’en profite ici pour signaler que pour unir la dimension interprétative et la dimension créationelle, il faut aussi l’entité organisationelle, sans laquelle l’événement même ne serait pas possible ! Je pense ici à l’UGAB qui a eu l’initiative du projet, qui est le commanditaire de l’œuvre et dont le dévouement des membres est admirable, eux qui gèrent un ensemble d’opérations complexes et pénibles au détriment de leur temps libre, voire de leur travail professionnel, pour faire aboutir le concert du Centenaire. Cet élan et cette consécration m’obligent et sont aussi parmi mes stimulations importantes pour œuvrer. "

Faites un don maintenant : 

Kristina Altunjan, violoniste

The German based violinist Kristina Altunjan has appeared as a soloist, chamber- and orchestral musician in numerous recitals across Europe, Asia and America. Born in Yerevan, Armenia, into a family of musicians, she began playing the violin at the age of 7. She studied in Yerevan at the State Conservatory, and at the Lübeck College of Music in Germany. She has taught violin and chamber music at the Yerevan State Conservatory, as well as various Music Colleges in Germany. Currently, Mrs. Altunjan is a member of the chamber music ensemble Oktoplus, and the NDR Radiophilharmonie Hanover.    

Henrik Karapetyan

Dr Henrik Karapetyan received his initial musical training in his native Yerevan, Armenia where he attended the Komitas State Conservatory for his undergraduate studies, working with distinguished professors Suren and Gayane Hakhnazarians. He later continued his graduate studies in Michigan, carrying MM and DMA degrees in Violin Performance from Wayne State University and University of Michigan.

An active soloist, recitalist and chamber musician, Mr Karapetyan has been a member of the Michigan Opera Orchestra since 2003, and often performs as concertmaster with regional orchestras in Metro Detroit area. He has appeared with performances in Europe, USA, Canada and Armenia. Among other venues, Mr Karapetyan has performed in Kennedy Center and Carnegie Hall in recent years. Mr Karapetyan’s musical and ethnographic interests have directed him to a long and ongoing study of specific characteristics of the Armenian music, its historical significance and its repercussions in modern professional music. As a teacher, Mr Karapetyan maintains a full studio in Ann Arbor, Michigan, where he currently resides.

Vaché Bagratuni a rejoint l'Orchestre du Centenaire

Découvrez la biographie de Vaché Bagratuni en anglais : 

Cellist Vache Bagratuni was born in Yerevan, Republic of Armenia into family of prominent artists, singers and musicians. Since very young age Vache was accepted to the “Tchaikovsky” Special Music School for gifted children, where cello teacher Zareh Sarkissian immediately noticed his talent, and invited young cellist to his studio to start his musical education.

Mr. Bagratuni has began performing recitals at age ten, and later, as a soloist with such orchestras as Armenian Philharmonic, Armenian Radio and Chamber Orchestras as well as Yerevan Chamber orchestra. While studying at school and the conservatory he was very active also as a chamber musician, member of various ensembles, performing numerous works of Armenian and European composers.

After graduating from Yerevan state Conservatory, where he studied under tutelage of famous cellist Medea Abrahamian, Mr. Bagratuni furthered his Musical education in Musikhochschule Freiburg (Germany) and after graduating there, continued his education in Stuttgart Musikhochschule, where he received Soloist Diploma.

Since first years at the conservatory Mr. Bagratuni has performed as a soloist, recitalist and chamber musician in numerous concert venues in former Soviet Union, Europe, Asia, North and South America.

Recital and chamber music appearances include performances in England, Sweden, Italy and numerous Festivals in Germany and throughout Europe.

Currently Mr. Bagratuni lives and works in Germany, where he holds position in Staatsorchester Stuttgart and performs numerous solo and chamber music concerts in European capitals.

Louisa Spahn - Violoniste de l'Arménian World Orchestra joue pour vous ...

Grâce à vous, Louisa Spahn, violoniste principale du Bochum Symphony Orchestra en Allemagne, a rejoint l'Armenian World Orchestra pour le concert !

Pour vous remercier, elle a décidé de jouer pour vous...

En savoir plus sur Louisa Spahn : 

Louisa Spahn (born Sarkissian, Yerevan) had an impressive start in her career when she won the second prize of the Soviet Viola Contest in 1990. She was trained at  Tschaikowsky Music School and later on at Komitas Conservatory, Yeravan. She became principal violist at the Symphonic Orchestra of the City of Yerevan in 1990 and joined the Armenian Philharmonic Orchestra only two years later. She qualified for a fellowship at Longy School of Music, Cambridge, Massachusetts, USA where she graduated with an artist diploma and a masters degree in 1998. She was selected twice as a fellow with Boston Symphony Orchestra in Tanglewood under Seiji Ozawa where she was awarded the C. D. Jackson Award. Mrs. Spahn also joined Rhode Island Philharmonic Orchestra.

Mrs. Spahn became principal violist at Bochum Symphonic Orchestra, Germany in 2001 after she joined the orchestra in 1998.

From 1994-1998 she was a member of the Arden String Quartett, Boston. She had master classes with the famous Juillard Quartett and has made numerous recordings.

Mrs. Spahn is also dedicated to musical education. She previously taught at the Greater Boston Youth Symphony Orchestra and currently teaches at the Orchestral Academy of the North Rhine Westfalia, Germany.    

ENGLISH VERSION

Take part in the creation of a great ephemeral international orchestra: THE ARMENIAN WORLD ORCHESTRA, directed by Alain Altinoglu.

The Armenian General Benevolent Union, nonprofit-making organization created in 1906, would like to invite as many people as possible to commemorate the centenary of the Armenian Genocide and pay tribute to the victims by honoring their memory with music : One Hundred Years of Memory a concert for life...

In April 2015, in the heart of Paris, at the "Théâtre du Châtelet", fifty musicians from leading international orchestras have volunteered to form the Armenian World Orchestra during a unique concert, accompanied by the Gulbenkian Foundation’s Choir, headed by Alain Altinoglu and with an original creation of Michel Petrossian. Music, universal and timeless, is able to bring together people beyond the conflicts tearing them.

For the commemoration to be complete, we still have to fund a part of the travel fees for the fifty renowned and voluntary musicians from several countries around the world. These fees were calculated around 300 euros on average per artist.

By participating in this project you all become players of an exceptional show carrying a message of brotherhood and hope. Your donation is essential, it allows all fifty voluntary musicians to come to Paris and to take part of the adventure. 

All 300 euros, a new musician will be revealed, until the entire Armenian World Orchestra is complete.

Thanks to your donations, the constitution of the orchestra becomes possible!

Contact:

AGBU France, 11 square Alboni, 75016 Paris, France, Tel. : 33 1 45 20 03 18, Fax: 33 1 40 50 88 09, orchestra@awo2015.com

http://ugabfrance.org/

Alain Altinoglu: The Conductor of the Armenian World Orchestra

© photographie Fred Toulet

Find a video interview with the great Conductor for the Figaro, here: http://bcove.me/vtvlgo8b

Alain Altinoglu studied at the National Conservatory of Music and Dance of Paris where he taught for ten years as a teacher of the vocal ensemble class. Alain Altinoglu is now one of the most requested conductors of his generation. He quickly established himself at the head of the major international orchestras and opera productions in the most prestigious houses.

He leaded the Chicago Symphony Orchestra, the Philadelphia Orchestra, the National Orchestra of France, the Gulbenkian Orchestra, the Orchestre of Paris, the Fenice Orchestra ...

His lyrical projects also leaded him in major opera houses: Metropolitan Opera, Vienna Opera, Royal Opera House, Paris Opera, Deutsche Oper, Chorégies of Orange, d'Aix-en-Provence Festival.

Also passionate about French melody and German lied, Altinoglu successfully built disc projects with the mezzo-soprano Nora Gubisch. His discography includes the melodies by Duparc and Ravel in parallel with recordings of operas (the last day of Seneca by Eric Tanguy) and instrumental works (3rd Symphony by Gorecki).

http://www.alainaltinoglu.com/

Michel Petrossian: the composer, Great Prize of Composition for the International Competition Queen Elisabeth Award in 2012

After studying cello and guitar, Michel Petrossian studied harmony, counterpoint, analysis, orchestration and composition at the National Conservatory of Music and Dance of Paris. In its first year of study, he receives requests and orders. He was invited to various festivals (Prague, Gothenburg, London ...) and composes music for large institutions such as the City of Music, the Nouvel Ensemble Moderne de Montréal, the Royaumont Fondation, the Philharmonic Orchestra of Armenia … 

The Academy of Fine Arts of the Institute of France awarded him with the Prize Veuve Buchère. After this course, he devoted himself to in-depth study of ancient civilizations and languages. He is particularly interested in the music of the ancient Middle East, which is one of the sources of his inspiration. He undertakes a synthesis of his dual musical and philological competence to articulate a new vocal writing. In 2012, he won the Grand Prize at the International Composition Competition Queen Elisabeth with his Concerto for Piano and Orchestra "In the Wake of Ea."

Why AGBU called on Michel Petrossian?

Appealing to musical creation for the Concert of the centenary was a particularly ambitious choice, but necessary.

It was an evidence to call a recognized composer of our time, Michel Petrossian, Winner of the International Composition Competition Queen Elisabeth in 2012 . In this universal language that is music, emerges a style, writing, specific to the composer, transmitting almost by definition, a cultural cradle. Michel Petrossian, composer, lead us in the remembrance of the 100th anniversary of the genocide in a Triple Concerto for Piano, Violin, Cello, Orchestra and Choir in the world premiere.

We aim to assure the continuity of culture, despite the events that have hit the Armenian people, sharing in the evening an exceptional work, an outstanding composer.

Alain Altinoglu : le Chef d’Orchestre de l’Armenian World Orchestra

@photographie Fred Toulet

Retrouvez une interview en vidéo du grand Chef d'Orchestre pour le Figaro ici: http://bcove.me/vtvlgo8b

Alain Altinoglu fait ses études au Conservatoire National Supérieur de Musique et de danse de Paris, où il enseigne pendant une dizaine d’années en tant que professeur de la classe d’ensemble vocal. Alain Altinoglu est aujourd’hui l’un des chefs les plus demandés de sa génération. Il s'est rapidement imposé à la tête des grands orchestres internationaux ainsi que des productions d’opéra dans les maisons les plus prestigieuses.

On le voit notamment diriger le Chicago Symphony Orchestra, le Philadelphia Orchestra, l’Orchestre National de France, l’Orchestre Gulbenkian, l’Orchestre de Paris, l’Orchestre de la Fenice, … 

Ses projets lyriques le conduisent également dans les plus grandes maisons d’opéra : Metropolitan Opera, Opéra de Vienne, Royal Opera House, Opéra National de Paris, Deutsche Oper, Chorégies d'Orange, Festival d’Aix-en-Provence.

Egalement passionné par la mélodie française et le lied allemand, Altinoglu construit avec succès des projets de diques avec la mezzo-soprano Nora Gubisch. Sa discographie comporte ainsi les mélodies de Duparc et de Ravel en parallèle avec des enregistrements d’opéras (Le dernier jour de Sénèque de Tanguy) et des œuvres instrumentales (3ème symphonie de Gorecki).

http://www.alainaltinoglu.com/

Michel Petrossian : le compositeur Grand Prix de Composition au Concours International Reine Elisabeth 2012

Après des études de violoncelle et de guitare, Michel Petrossian étudie l’harmonie, le contrepoint, l’analyse, l’orchestration et la composition au Conservatoire National Supérieur de Musique et de Danse de Paris. Dès sa première année d’études, il reçoit des sollicitations et des commandes. Il est invité à des festivals divers (Prague, Göteborg, Londres…) et compose pour de grandes institutions musicales telles que la Cité de la Musique, le Nouvel Ensemble

Moderne de Montréal, la Fondation Royaumont, l’Orchestre Philharmonique d’Arménie … L’Académie des Beaux-Arts de l’Institut de France lui décerne le Prix Veuve Buchère. Après ce parcours, il se consacre à l’étude approfondie des civilisations anciennes et de diverses langues. Il s’intéresse en particulier à la musique du Proche-Orient ancien qui constitue l’une des sources de son inspiration. Il y entreprend une synthèse de sa double compétence musicale et philologique afin d’articuler une écriture vocale nouvelle. En 2012, il remporte le Grand Prix de Composition au Concours International Reine Elisabeth avec son concerto pour piano et orchestre «In the Wake of Ea».

Pourquoi l'UGAB a fait appel à Michel Petrossian ?

Faire appel à la création musicale pour le concert du centenaire a été un choix particulièrement ambitieux, mais nécessaire. 

Il s’est agi de faire appel à un compositeur de notre temps, reconnu, Michel Petrossian, Lauréat 2012 du Concours International de Composition Reine Elisabeth. Dans cette universalité de langage que constitue la musique, se dégage un style, une écriture, propre au compositeur, mais qui véhicule presque par définition, un berceau culturel. Michel Petrossian, compositeur, nous entraînera dans l’évocation du 100e anniversaire de ce génocide, dans un Triple Concerto pour Piano, Violon, Violoncelle, Orchestre et Choeur en création mondiale.

Nous assurons à notre mesure le continuum culturel, malgré les événements qui ont pu frapper le peuple arménien, en partageant dans cette soirée une oeuvre exceptionnelle, d'un compositeur exceptionnel.

http://www.michelpetrossian.com/