Ilda Simonian has an extensive collection of sheet music, available for choirs who wish to include Armenian music in their repertoire. After discussing the desired programme with a representative of the choir, she provides the relevant sheet music, together with a translation of the works and background information on the music and its composer. She also coaches the choir in their pronunciation and interpretation of the pieces.

Some examples of programmes of choral music:

Komitas (1869-1935): Adaptations of folk music for choirs

Armenian liturgical songs: Badarak as interpreted by Yegmalian (1857-1905) and Komitas

Sayat Nova (1717-1795): Armenian minstrels’ music

Khatsjadur Avedisian (1926-1995): Oratorio in remembrance of the victims of the 1915 genocide

Krikor Mirzayan Suni (1876-1939): Popular romantic songs and adaptations of folk music

Armenische Chormusik

Ilda Simonian has an extensive collection of sheet music, available for choirs who wish to include Armenian music in their repertoire. After discussing the desired programme with a representative of the choir, she provides the relevant sheet music, together with a translation of the works and background information on the music and its composer. She also coaches the choir in their pronunciation and interpretation of the pieces.

Some examples of programmes of choral music:

Komitas (1869-1935): Adaptations of folk music for choirs

Armenian liturgical songs: Badarak as interpreted by Yegmalian (1857-1905) and Komitas

Sayat Nova (1717-1795): Armenian minstrels’ music

Khatsjadur Avedisian (1926-1995): Oratorio in remembrance of the victims of the 1915 genocide

Krikor Mirzayan Suni (1876-1939): Popular romantic songs and adaptations of folk music



My first cd Izler/Hedker/Traces

 Izler / Hedker / Traces IZLER / HEDKER / TRACES  Ilda Simonian  

http://www.youtube.com/watch?v=DMnoOlJi5_M

Order by mail in Europe: info@simonian.nl

http://kalan.com/scripts/album/dispalbum.asp?id=4239

Here, in the country of my birth, my notebook full of song lyrics did not include a single song in my native Armenian until I was ten years old. Up to that point, I’d never heard a song in Armenian, because my mother and father were the children of one of the largest tragedies in history. For this reason, they did not know a single song in Armenian; not even our lullabies.

A cassette of Armenian music that came from abroad changed my world. I was amazed, and couldn’t hold back my tears of joy. Up to then I had heard no Armenian melody other than church hymns. I was amazed, because I was hearing an Armenian song for the first time. I was moved, and I cried; because my joy was more than my heart could contain. That joyful but also sad shock, experienced at that tender age, never left my mind. From that moment on, Armenian music became a part of my life.

When I was twelve, a chorus came from Istanbul to our village to hold auditions, and I became its youngest member. It affected me just like water on a wilting flower. From that day on, I became one with my songs; I’ll never stop singing them. I had the opportunity to learn our history, customs and traditions directly from the songs of the kusans. But it went farther than that: music became my means of expressing myself, of communicating. Music became the light that illumined the way towards toward the awareness, formation and discovery of my own identity.

The songs on this album are those which I learned I learned and fell in love with as I encountered them on my musical journey from Istanbul to Hayasdan, in places like Erzurum and Adana.

In 2006, as a bonus track for recordings I made in Hayasdan under the direction of Norik Davtyan, I recorded “Yes Blbul Em” and “Oror,” in Kalan Müzik’s studio in Istanbul, accompanied by Ertan Tekin on duduk. It was the first recording of these songs accompanied solely by duduk. Lastly, in memory of Hrant Dink, we recorded “Sbidag, Badankov A?vanin,” with words and music by Mikail Aslan.

So here, like a “first bouquet” of Armenian songs, I present you with Hedker. 

03-05-2009