Canadian Armenian violinist about the impressions of Yerevan concert
Recently, the “Cafesjian” Art Center hosted Canadian Armenian violinist Ruben Kosemian’s concert. After the concert, the musician shared his impressions with “Aravot”. The concert program was quite colorful: Saint-Saens, Maurice Ravel, Karen Khachatryan, Mozetich, Tchaikovsky, Gershwin and others. The musician specifically stressed that the concert in Yerevan was held in support with the Canada Council For The Arts organization.
As for Marjan Mozetich, the “Songline to Heaven” was played in Yerevan, he is a Slovenian descent Canadian composer. Ruben Kosemian told that he was acquainted with Mozetichi in 2010, he was introduced to this composer in Canada, by handing over the CD and telling that Mozetich would like him to play his works. The composer has send the handwritten notes to Ruben Kosemian. Our interlocutor told that he has had a concert in Armenian 6 years ago and has played Bruch accompanied by the Philharmonic Orchestra. This year’s concert was unique in the sense that it was attended by musicians Eduard Tadevosyan and his father Alexander Kosemian with whom he studied, as well as well-known composers attended, including Vache Sharafyan.
“They were impressed to see a big change compared to the past 6 years, they were saying that my play is poetic,” said the artist. During our conversation, we touched upon the composer Karen Khachatryan with whom he was introduced in Moscow. In Yerevan, Kosemian played his sonata for violin and piano. Opportunely, the first player of Khachaturian’s sonata for violin was performed the great violinist David Oistrakh. Kosemian added that Karen Khachatryan has told him how this work was once recorded with famous violinists Leonid Kogan and David Oistrakh, how he has given advice for playing the sonata or how Jascha Heifetze has asked the notes of the sonata and then send the recording to Khachaturyan.
Ruben Kosemian also spoke whether the interpretation of the works of Armenian composers by Armenian-roots violinist differs from the interpretations of other nationalities. “Of course, they are different, in our case, the perception is completely different, the feeling is warmer, pleasant, and there is the moment of genetics. Incidentally, I have played Armenian pieces with many other nationality pianists, and often I have taught them how make it sound right,” added the violinist. He is of the opinion that the musicians must travel a lot and play in front of different audiences for “not to become bogged up,” “After every performance, you become more experienced, and if you always live in the same place and play always in the same halls, you cannot be changed.” We also spoke about the so-called “Jewish” factor in the arts which is one of the prerequisites for promotion. “For example, when there was to be a concert in the United States, I asked the impresario asked if any artist changes his name with a Jewish name, will it help him. The impresario replied that in my case, introducing as an Armenian would be more interesting. In addition, importantly is to keep the benchmark high and play well. Certainly, the connections are helpful but if there is no level of performance, no matter what connections are, you cannot “extend” more than a year. Being fully involved in the process, of course, is easy, what is difficult is to continue all this as a player,” said Ruben Kosemian.
Gohar HAKOBYAN,
Photo by Ruzanna Khalatyan, “Aravot”
