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Stephen Estep
American Record Guide, September 2019

The Armenian Folk Dances are from 1935; Tigranian transcribed the melodies faithfully and added accompaniments that complement them well…they are nicely detailed…

Ayrapetyan plays everything well… © 2019 American Record Guide Read complete review on American Record Guide



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, May 2019

The music is first-rate and well performed. Anyone who loves the Armenian tinge will welcome this. Those not familiar with what that means will find this a very good introduction to it as well. Recommended with a big smile. © 2019 Gapplegate Classical-Modern Music Read complete review



Records International, May 2019

Tigranian belongs to the first generation of composers and folk song collectors who laid the foundation of an Armenian national style. Tigranian’s piano transcriptions of folk dances are perhaps his most important legacy, emulating folk instruments and capturing and preserving colorful depictions of Armenian folk life that are simple in texture and rich with harmonic and melodic detail but interests also extended to Persian improvisational vocal-instrumental poems or mugams whose examples take up the second half of this album. © 2019 Records International



David Denton
David's Review Corner, April 2019

Spanning nearly a century, having been born in 1856, Nikoghayos Tigranian, became one of the founders of an Armenian national style of composition. Blind from the age of nine, his parents did everything possible to give him a wide education. They found him piano mentors who adapted to his impairment, taking him to such a degree of excellence that he was subsequently to tour as an acclaimed concert pianist. He also studied composition, though it was by collecting folk music in the form of dances, that he made such a major contribution to Armenian music. That collection was then published in his books of piano transcriptions. The disc opens with eleven that appeared in 1935, and were to awaken much interest in charming and happy music. He was also responsible for early recordings of Armenian dances, though it would appear that the contents of the disc are all ‘World Premiere Recordings’. Following these dances, we have several pieces that move into the world of classical music. They are much coloured by East European influences and his exposure to Russian classical music. There are also pictures, the final track—Nouruz Arabi—being his impression of morning in Arabia with the warmth of the sun creating a grand conclusion. This is the fourth volume of his national music presented by the much acclaimed Armenian pianist, Mikael Ayrapetyan. It does not call for outgoing technical accomplishment, but it has here found a most persuasive advocate. The recording made in the Great Hall of the Moscow State Conservatory last year is of very high quality. © 2019 David’s Review Corner





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