Flutist Arman Abrahamyan in terms of creativity is in harmony with artist Davit Abrahamyan
Father and son Abrahamyans (in the photo) maintain the highest qualities of creative activity: restraint, modesty and freedom. This notion is constantly voiced among the specialists when it comes to artist Davit Abrahamyan and his son, musician Arman. “Aravot” met with flutist Arman Abrahamyan in the staff of the Quartet in one of the concerts of the Armenian Contemporary Music Festival organized by the Union of Composers and Musicians of Armenia on October 31 to November 3. Anahit Kostanyan’s voice and the work written for the brass quartet (soloist soprano Lusine Makaryan) sounded, and father Abrahamyan’s recent exhibition of paintings was held in Shushi, October 15-23.
Abrahamyan, a member of Union of Artists of Armenia and the USSR, who is also a member of the Union of Artists of UNESCO, does not definitely have shortage of exhibitions. His realistic-impressionistic works, starting from 1978, toured all over the world, presented to the German, Check, French, Japan, Greek, Norwegian, Russian, American, Italian and other nation’s art-admiring community. Many works also are included in the private collections, including from Yerevan to Paris, Vienna, New York, London, Lisbon, Detroit, Leipzig and others. Perhaps, the wide range of art-admiring circles do not know that Davit Abrahamyan’s son, flutist Arman, is not only a superior musician, but also an artist.
In the conversation with us, Arman Abrahamyan said that although he did not have private exhibitions, but he has many times participated in group-exhibitions held in the Union of Artists. In 2001, he was also the flutist of Ed. Topchyan’s conducted State Philharmonic orchestra band. In the very same year, again in the staff of “Serenade” band conducted by Topchyan, the musician’s first tour abroad in Germany occurred. Later on, he played in the Philharmonic staff in Austria, Slovakia, Russia, France, and elsewhere. We often meet with the flutist in the staff of the Chamber ensembles.
In fact, many famous musicians from abroad on tour to Armenia, in the conversation with us, have always signified their activities in the Chamber ensembles. Arman is not exception, as well. The music-admirers remember the “Renaissance” quartet established by his and the efforts of his like-minded in 1998, where innovation was introduced for the first time in our reality, i.e. the first violin was substituted by the flutist. Until 2004, the “Renaissance” presented its numerous concerts in Armenia, mostly sounding interpretations of works of Komitas-Aslamazyan, Mozart, Haydn, Shostakovich, Boccherini and other composers.
To the interest why the 6-year-old Quarter was dissolved, Arman Abrahamyan replied that the reasons was one: immediately 2 musicians left the country for permanent residence and create, one to Mexico and the other one to the US. To the question of whether however the career of solo does not attract him, our interlocutor replied, “This way or another, brass instruments, including the flute, have their solo part in any large-scale creative works. In addition to our Philharmonic Orchestra, once I was in the city of Airdrie, Scotland, participating in Mozart’s “Magic Flute” opera performance. In 2010, I was playing with Englishmen in the staff of Symphony Orchestra in the city of Bath, Great Britain. It was either in 2006 or 2007, together with pianist Areg Simonyan at the last concert conducted by Ohan Duryan, I participated in the premiere of composer Duryan’s work written for flute, piano and orchestra.
Last year, together with the National Chamber Orchestra of Armenia headed by Vahan Martirosyan, I played Bach’s C Minor Suite N2, and so on.” To half-jokingly and half-serious question of whether creative debates often happen between the father and the son, Arman seriously answered, “No debates occur at all, and as for the advice, I always take them my dad.”
Samvel DANIELYAN
