亞美尼亞作曲家亞蘭·哈察都量 (Aram Khachaturian)
亞蘭·哈察都量 (Aram Khachaturian, 1903-1978)
亞蘭·哈察都量是一位傑出的亞美尼亞作曲家，因其對古典音樂的巨大貢獻，以及他將高加索地區豐富的民間音樂元素融入交響樂形式的獨特能力而聞名。他於1903年出生在喬治亞提比里斯（當時屬於俄羅斯帝國），早年生活深受當地民間歌手和詩人（稱為「吟遊詩人」）影響，沉浸在濃厚的地區音樂傳統之中。
儘管他天生對音樂有著濃厚的興趣，哈察都量最初學習生物學。然而，他不可否認的才華和對音樂的熱情很快將他引向格涅辛音樂學院，隨後進入莫斯科音樂學院，在尼古拉·米亞斯科夫斯基等著名導師的指導下磨練作曲技巧。
哈察都量的音樂風格以其旋律優美、節奏感強烈和色彩豐富的配器為特點。他大量汲取亞美尼亞、喬治亞、亞塞拜然甚至波斯的民間音樂，將這些民族風格與當代管弦樂技巧融為一體。他的作品經常出現即興演奏、變奏以及對東方音色的模仿，使他的音樂聽起來獨特且廣受歡迎。
在他的整個職業生涯中，哈察都量在蘇聯音樂界擔任重要職位，成為莫斯科音樂學院和格涅辛音樂學院的教授。儘管他是蘇聯的堅定支持者，甚至加入了共產黨，但他與普羅高菲夫、蕭士塔高維奇等其他著名作曲家一樣，在1948年因其音樂中的「形式主義」和「反人民」傾向而受到譴責。他公開道歉後，聲譽得以恢復，並繼續創作重要作品，影響了南高加索和中亞共和國作曲學派的形成。他於1978年在莫斯科去世，並安葬於亞美尼亞葉里溫。
亞蘭·哈察都量十首膾炙人口的音樂作品：
- 來自芭蕾舞劇《嘉雅涅》的**《馬刀舞曲》**：毫無疑問是他最著名的作品，以其令人振奮和狂熱的能量而聞名。
- 來自芭蕾舞劇《斯巴達克斯》的**《斯巴達克斯與芙麗吉亞慢板》**：一首深情而浪漫的曲子，因其在電影和電視中的使用（特別是《奧涅丁家族》）而廣受歡迎。
- 來自《化妝舞會組曲》的**《圓舞曲》**：一首令人難忘且優雅的圓舞曲，是管弦樂曲目的必備作品。
- 《D小調小提琴協奏曲》：一首精湛且富有表現力的協奏曲，展現了小提琴的卓越能力。
- 《降D大調鋼琴協奏曲，作品38》：一首氣勢磅礴、戲劇性十足的鋼琴與管弦樂協奏曲。
- 來自芭蕾舞劇《嘉雅涅》的**《少女之舞》**：他芭蕾舞劇中另一首受歡迎的選段，以其抒情優美而聞名。
- 來自芭蕾舞劇《嘉雅涅》的**《搖籃曲》**：一首溫柔而富有感染力的作品。
- 《觸技曲》（鋼琴）：一首為獨奏鋼琴創作的輝煌且富有挑戰性的作品，常作為獨立曲目演奏。
- 來自芭蕾舞劇《嘉雅涅》的**《萊茲金卡舞曲》**：一首活潑且富有節奏感的民間舞蹈。
- 《E小調大提琴協奏曲》：大提琴曲目中的重要作品，展現了他對協奏曲形式的駕馭能力。
Aram Khachaturian (1903-1978) was a prominent Armenian composer, widely recognized for his significant contributions to classical music and his unique ability to integrate vibrant folk elements from the Caucasus into symphonic forms. Born in Tbilisi, Georgia (then part of the Russian Empire), Khachaturian's early life was steeped in the rich musical traditions of the region, influenced by local folk singers and poets known as Ashugs.
Despite his natural inclination towards music, Khachaturian initially pursued studies in biology. However, his undeniable talent and passion for music soon led him to the Gnesin Institute and later the Moscow Conservatory, where he honed his compositional skills under notable instructors like Nikolai Myaskovsky.
Khachaturian's musical style is characterized by its melodious nature, strong rhythms, and colorful orchestration. He drew extensively from the folk music of Armenia, Georgia, Azerbaijan, and even Persia, blending these national idioms with contemporary orchestral techniques. His works often feature improvisations, variations, and the imitation of oriental timbres, giving his music a distinctive and widely appealing sound.
Throughout his career, Khachaturian held important posts within the Soviet musical establishment, becoming a professor at both the Moscow Conservatory and the Gnesin Institute. While he was a staunch supporter of the Soviet Union and even joined the Communist Party, he, along with other prominent composers like Prokofiev and Shostakovich, faced denunciation in 1948 for "formalistic" and "antipopular" tendencies in his music. He publicly apologized, was later restored to prominence, and continued to compose significant works, influencing the formation of composition schools in the South Caucasus and Central Asian Republics. He died in Moscow in 1978 and was buried in Yerevan, Armenia.
Here are 10 of Aram Khachaturian's most popular musical works:
- "Sabre Dance" from the ballet Gayane: Undoubtedly his most famous piece, known for its exhilarating and frenetic energy.
- Adagio of Spartacus and Phrygia from the ballet Spartacus: A deeply moving and romantic piece, popularized by its use in film and television (notably "The Onedin Line").
- Waltz from the Masquerade Suite: A haunting and elegant waltz that is a staple of orchestral repertoire.
- Violin Concerto in D minor: A virtuosic and expressive concerto that showcases the violin's capabilities.
- Piano Concerto in D-flat Major, Op. 38: A powerful and dramatic concerto for piano and orchestra.
- "Dance of the Young Maidens" from the ballet Gayane: Another popular excerpt from his ballet, known for its lyrical beauty.
- "Lullaby" from the ballet Gayane: A tender and evocative piece.
- Toccata for piano: A brilliant and challenging work for solo piano, often performed as a standalone piece.
- Lezghinka from the ballet Gayane: A lively and rhythmic folk dance.
- Cello Concerto in E minor: A significant work in the cello repertoire, demonstrating his command of the concerto form.