This year marks the 75th anniversary of the renowned composer Mikhail Kokzhayev. Composing in diverse genres and styles, he is the author of symphonies, concertos, works for organ, vocal, and various other compositions, as well as a number of scientific works. The composer’s pieces have been performed and remain widely recognized in the post-Soviet area, USA, France, Germany, South Korea, and other countries across the world. Mikhail Kokzhayev also has a rich pedagogical career and is a Professor at the Yerevan State Conservatory.
The composer’s jubilee was spotlighted in the framework of the 12th Armenian Composing Art Festival held by the State Symphony Orchestra of Armenia, by featuring Kokzhayev’s symphonic suite “Alpine Masquerade”. Our conversation with Mikhail Kokzhayev reflects upon the key aspects that constitute the composer’s creative life.
-“Maestro, your symphonic suite “Alpine Masquerade” was premiered in the framework of the Armenian Composing Art Festival. I wonder what special theme is there enveloped in this composition.”
-“The complete title of the composition reads: “Alpine Masquerade։ The True Story of the Glass Slipper” and it is actually an interpretation of Cinderella’s plot. This work was commissioned by the Embassy of Switzerland with the former Ambassador at the office, who was a great lover of music and contributed a great deal to the cultural cooperation and reinforcement of relations between Armenia and Switzerland. This work was intended to be performed 3 years ago, however, as you know, financial issues can sometimes be very challenging. I have used Alpine national folk themes including, along with Swiss motifs, elements from German and French folk themes. I dare say that this work incorporates multiple all-European melodic layers, however, my efforts were focused on Swiss motifs.”
-“So, how was it decided to present “Alpine Masquerade” at this very festival?”
-“The organizers of the Armenian Composing Art Festival came up with the idea to perform one of my compositions and I opted for this work. I value greatly the Armenian State Symphony Orchestra and its accomplishments. By the way, they have performed a number of other works by me in the past. They are a marvelous orchestra. I also wish to address special words of appreciation to Konstantin Ishkhanov or his contribution to recording the concert evening. I couldn’t have done it on my own, and the orchestra does not always have such an opportunity either. Classical music always needs supporters and I know well how much Konstantin Ishkhanov stands by the side of musicians. So, this is not a unique case and I am immensely grateful to him for this.
-The Armenian Composing Art Festival promotes classical and contemporary Armenian composers and their heritage. How would you evaluate their efforts?
-Maestro Sergey Smbatyan’s orchestra is doing a great job in raising the awareness of Armenian composing art. As far as I know, this is the only orchestra that has a systematic and consistent scheme of presenting works by Armenian composers to wider audiences. I am very happy to see my work performed among many classical pieces in the program scope of the festival. Incidentally, we had another chamber concert at the Aram Khachaturian House-Museum just recently on my 75th anniversary and I have a sincere appreciation for the public interest in my music.
-Mr. Kokzhayev, how do you see the future of Armenian classical music?
-I have been educating young people at the Yerevan State Conservatory for many years now and I can say with confidence that we have a wonderful generation that can handle the future of Armenian classical music. If only they were able to carry out that mission in better times for our country. On the other hand, however, I believe that so far as high-quality music is played in concert halls in Armenia, we will remain invincible.
Lilit Gabrielyan
