I went to my third TAYF Concert on April 23, 2026.This one was at the Color Club Ballroom on
Chicago’s Irving Park neighborhood.The
concert was titled Sahrit Saffron which is an “expansive cultural night steeped
in SWANA (Southwest Asian and North African) roots and rhythms". The theme
and the concert sought to evoke the warmth and light of saffron, acting as a
celebration of existence, tradition, and cultural preservation.
In light of the wars in Gaza, Lebanon, and Iran, the notions of
existence, tradition, and cultural preservation are much more serious and
precious.This did not escape the
producer and musicians of TAYF as they crafted the concert pieces and
presentation.The first half of the show
was more somber and lamenting.Songs,
poems, and dances of lament is something that many SWANA cultures, sadly, have
perfected and created in great numbers due to the history of the region.The second half of the concert was more
hopeful which is, of course, what buoys these same cultures to persist, honor
traditions, and embrace their cultures.TAYF
delivered all this most in a beautifully crafted concert.
I have attended three TAYF concerts.The first was their inaugural concert at the Old Town School of
Music.The second was in October of
2025, TAYF: From Ash
to Bloom.All three concerts were wonderful and
enjoyable.The group has evolved and
grown with each concert.In the concert
last night, they took it to another level entirely.I was really blown away.
They were in one word tighter.In
few other words, they were more comfortable on stage.Tighter and more comfortable with each other,
being on stage, and the music is part of the formula for musical
excellence.The arrangements were
wonderful, highlighting each and every performer.The interplay of the vocalists in leads,
back-ups, and harmony was very well done.The meld of music and Phaedra’s improvisational dancing was perfectly
in-sync. The group was noticeable tighter than the other concerts I went
to.There were zero mistakes that I
noted.Everyone seemed more confident
and they were not only ready for the stage last night.I also believe they were ready for the
recording studio and bigger stages.
TAYFmembers at the Sahrit Saffron Concert:
C
Mikhail – Bass, Vocals
Sham
Abyad –Vocalist
Karl
El Sokhn – Guitar, Riq, Drums, Vocals
Dr.
Aliah Ajamoughli, PhD – Cello
Phaedra
Darwish – Flute, Vocals, Dancer
Dr.
Shayna Silverstein – Violin
Yasmeen
– Dancer
Pan
Fayang – Guest flute, ney
None of this happens without a lot of hard work and practice.While the credit goes to the ensemble, the
driving force and creator of TAYF, C Mikhail, clearly deserves a lot of
credit.C sets the tone, creates a
beautiful culture for the group that nurtured and sustained their dedication to
the group, and arranged all the songs except one for this concert.Their arrangements were impressive in terms
of fullness and texture.I was most
impressed by the way C highlighted the talents of Aliah, Shayna, Phaedra, and
Pan that were notable in various passages throughout concert.My ears perked up to very noticeable lush
cello lines, soprano violin riffs, and beautiful flute adornments.This kind of arranging added so much color
and intricacy to the music.
Here is the musical line-up for the evening.
Morghe
Sahar
Hadi
ya bahr
Ya
msafer wahdak
Ala
Tariq
Kifak
Inta
Intermission
Dak
khilkeh
Shou
hal ayyam
Baatilak
Talfan
Ayyash
Ayshe
wahda balak
I was impressed with C’s vocal skills.For the opening musical piece, C sang Morge Sahar, a song regarded as an
‘anthem’ against injustice in Iran and the signature piece of the famed
Mohammed Reza Shajarian.C sang it in
Farsi, not a language they are fluent in, while playing the bass.It was beautiful.C’s bass playing was also showcased in an
engaging bass taksim.C and Sham teamed
up for a beautiful lament of just voice and bass.It was very moving, maybe the highlight of
the first half of the show.Karl sang
two songs and has become something of specialist in singing in the style of
Ziad Rahbani.Both Karl and Phaedra sang
chorus parts in other songs as well.
I cannot comment on TAYF without praising Sham’s amazing singing.She is something very special and her rich
vocal stylings, alone, are reason enough to come to attend a TAYF concert.Abdo Timejardine-Zomeño, a clarinet player in
the Middle Eastern Music Ensemble (MEME), praised Sham after a MEME concert
with perfect sentiment: “I could listen to this Queen sing all night.”Indeed!To me, she is ‘the Fairuz of Chicago.’
Queen Yasmeen and Phaedra’s dancing added a beautiful visual dimension
to the performance.Queen Yasmeen danced
elegantly and gracefully to recorded music to both kick-off and end the
concert.Phaedra danced, interpretively,
to pieces played by the ensemble.It was
art music and dancing embracing Arab culture.
The crowd of friends and fans absolutely loved TAYF.Probably a third were MEME members.Every member of TAYF either is currently in
MEME or once was.Everyone in attendance
loved each and every music and dance offering.They showed it with loud, sustained, and enthusiastic applause.
The entire evening was curated and produced by BIYA BIYA Productions
founded by Yasmeen Zacaria Mikhaiel, another MEME member.Yasi made the evening more than just a
concert, they had a bazaar of local merchants and organizations with tables on
the periphery of the concert hall, there was photo booth with a live
photographer, and a DJ dance party after the TAYF concert.It was all very well done and made for a
great evening all around.BIYA BIYA Productions
and TAYF are about the same age as both were founded just a few years ago.Their teaming up was natural, and their
growth has had the same trajectory.This
was the best TAYF to this point.This
was the best curated and produced TAYF event as well.TAYF has solidified as an ensemble and were
more natural and comfortable on stage, the same could be said about Yasi as
well from her opening remarks and to how they interfaced with the audience,
band, and staff.I look forward to
seeing this partnership grow and blossom.
The future looks very bright for TAYF and BIYA BIYA.I will be the first in-line to buy a TAYF CD
and, who knows, maybe even a TAYF World Tour 2028 hoodie.
We all have friends or acquaintances
we have never met and only know through social media. We also have
select lists of celebrities we follow online. Marianna Gevorgyan is both
for me. First and foremost, she is a world-renowned master and virtuoso
of the Armenian kanun. I delight in viewing the reels and videos of her
performing. Marianna has become a social media friend as well,
primarily because she responds to and engages with people like me who
comment on and admire her musical talents. She is also gracious in her
likes and comments on my musical posts.
Marianna was born in Yerevan in 1986
and began her musical journey at the Alexander Spendiaryan Music School.
She pursued higher education at the Yerevan Komitas State Conservatory,
completing her bachelor’s, master’s and postgraduate studies with high
honors. Her dedication to the kanunhas been the defining focus of her career.
The Armenian kanun (also transliterated as kanon or qanun)
is a trapezoidal zither that is centuries old. It is a cornerstone of
Armenian folk and classical music, distinguished by its bright and
resonant timbre. Unlike many stringed instruments that use wooden
soundboards, the kanun’s bridge rests on goat or fish-skin membranes,
producing a sharp, percussive tone that carries beautifully in both
intimate ensembles and orchestras.
The Armenian kanun has 26 courses of
three strings tuned to the same pitch, for a total of 78 strings. The
instrument is played with two picks, one on each forefinger. The picks
are held on the fingers by metal bands and are traditionally made of
tortoiseshell (though modern ones use horn or synthetic materials),
producing a sharp, clear attack. Virtuoso players like Marianna use all
10 fingers to play complex chords, arpeggios and full-bodied strumming.
While the right hand plucks, the left
hand frequently moves the small metallic levers, or mandals, near the
tuning pegs to change pitch mid-performance. This allows the player to
access accidentals and modulate between musical keys.
In Armenia, the kanun is primarily
played by women. They often begin at a young age, and many have seen
videos of young girls playing with great intricacy and precision in
unison. Marianna was one of those young musicians who has blossomed into
an internationally recognized master of her instrument.
Don’t just take my word for it. Kanun
player and recording artist Ara Topouzian had this to say about
Marianna: “Marianna doesn’t just play the kanun—she reveals its full
voice. With striking versatility, she moves seamlessly between styles
and moods, carrying a sound that resonates far beyond the stage. She is,
without question, a pride of Armenia.”
Duduk and clarinet virtuoso Mher
Mnatsakanyan was equally exuberant in his praise of Marianna’s talent:
“Marianna Gevorgyan stands among the most respected voices of the kanun
today. Through her artistry, dedication and deep understanding of
tradition, she continues to elevate the instrument, inspiring audiences
and musicians alike across generations.”
Marianna has a long list of awards that includes:
Global
Icon Award (Music), 2025: Honored as the sole representative of Armenia
at an event in Athens, Greece, organized with the support of UNESCO,
UNICEF and the United Nations;
World
Folk Vision, 2020 Grand Prix: Won the top prize in the “Music of the
Peoples of the World” category, competing against nearly 4,000
participants from 115 countries;
Music Ambassador Award: Received first prize at an international competition held in India.
Marianna is a wonderful player. Her
virtuosity is enhanced by her grace, natural beauty and elegant gowns.
She has been interviewed in the media and appeared on magazine covers
around the world. She is also a cultural ambassador for Armenia. Artists
around the world have painted portraits of her. She has inspired poets
(including yours truly).
Follow Marianna on social media and enjoy her YouTube channel @mariannagevorgyan.
Floating gracefully upon the pluckish tendrilities, the babbling brookiness, the very Armenian kanun, the effortless emanation from Marianna’s heart and soul,
I am there, in Hayastan, in Amberd, at Saghmosavank, nowhere near Yerevan, in the small villages, just imagining, channeling, our tarn upon tarn centuries older than old sacred spirit vibrating in our very genes.
The poem is best read listening to this rendition of the Sayat Nova song, which is the title of the poem.
On Friday, March 13, we ventured to
Hyde Park on Chicago’s South Side to attend a concert featuring Tigran
Hamasyan and Third Coast Percussion (TCP). It was the second time we had
seen Hamasyan perform. The first
was two years earlier, again in March, which featured intense jazz in a
hip concert hall in Lincoln Park. This performance, by contrast, took
place in the more traditional, 400-seat performance hall at the Reva and
David Logan Center for the Performing Arts at the University of
Chicago.
The audience also differed
noticeably. At the earlier concert, the average age appeared to be
around 30. This time, it was closer to 50. The concert quickly sold out,
prompting the addition of a second performance to accommodate demand.
The first half of the program
featured Chicago’s acclaimed TCP, a Grammy Award-winning percussion
quartet and composer collective founded in 2005. The ensemble has become
a leading force in contemporary classical music, known for its
“vibrant” (The New Yorker) and “hard-grooving” (The New York Times) performances.
The opening piece, Etude No. 1,
was written by Hamasyan and arranged by TCP for percussion quartet.
Hamasyan joined the ensemble for the performance. The piece was light
and airy, with Armenian melodic phrases as the weft to the jazz warps.
The interplay of piano, vibraphone and marimba created a rich musical
tapestry of point and counterpoint.
TCP continued with three additional selections, each commissioned with the support of benefactors. The first, Lady Justice / Black Justice, The Song, was composed by Jessie Montgomery and inspired by Ori G. Carino’s painting Black Justice.
Montgomery described the work as “a deep collaboration and artistic
symbiosis” between composer, ensemble and visual artist. “I am
privileged to call them friends in music and in life,” he stated.
The next piece, Orion,
by Brazilian composer and guitarist Sérgio Assad, was written in
celebration of TCP’s 20th anniversary in 2024. Structured in five
movements, it showcased the ensemble’s virtuosity: Sean Connors, Robert
Dillon, Peter Martin and David Skidmore performing with precision and
dynamic range.
The final piece of the first half, Sonata for Percussion,
was composed by Hamasyan in 2024. I loved this piece. While structured
in a classical sonata structure, it was done Hamasyan style, infusing
Armenian motifs and melodic notions into a jazz form fluidly and
seamlessly.
After intermission, the program
shifted to Hamasyan’s solo performance. Taking the stage to vigorous
applause, he sat at a concert grand Steinway and mesmerized us for about
45 minutes.
The program listed “solo selections,”
though it was not always clear where composition ended and
improvisation began. I am not enough of a student of his work to know
the answer to this question. What was clear, however, was the intimacy
of the experience. Hamasyan’s playing moved fluidly between delicate,
almost whispering passages and bold, percussive intensity. Armenian
themes surfaced throughout, grounding even the most exploratory moments.
It was soft and delicate sometimes and bold and edgy at others.
What I enjoyed most was what I will call his aghpuir
moments—named for the Armenian word աղբյուր, meaning “spring.” In these
passages, often two-thirds of the way through a piece, Hamasyan would
shift to the highest register of the piano, leaning over the keyboard,
his eyes nearly level with his fingers. There, he would improvise
fragments of Armenian melodies in a bubbling, fluid style, reminiscent
of a natural spring or babbling brook, hence the Armenian word aghpuir.
Following the performance, we met
several Armenians, most of whom were from the Republic of Armenia. Some
of them had driven two or three hours to be there and planned to return
home that same evening. Although Hamasyan did not come to the afterglow,
having performed in the same hall, I knew where the green room was. My
wife, Judy, encouraged me to go and try to meet him. I was a little
hesitant because I have heard that Hamasyan is a very shy person, but I
did go and he was very gracious, taking a photo with me.
Tigran Hamasyan is an immense talent—a
national treasure for Armenians and highly regarded by a large
non-Armenian following around the world. If you are unfamiliar with his
work, find him on YouTube and listen to his music. And if he performs in
your city, I wholeheartedly encourage you to go. I am most definitely a
fan.
Saturday, March 14, 2026, was a beautiful day for music.I had two engagements, both gratis, and both were
fun and uplifting.
The first was a celebration of Nowruz at the University of Chicago’s
Institute for the Study of Ancient Cultures (ISAC).Nowruz, meaning “new day,” is the celebration
of the new year which, 3,000 years ago in Zoroastrian Persia, was celebrated on
the first day of Spring, the vernal equinox.To this day, Nowruz is still a significant holiday, a national holiday,
in present day Iran.
The Nowruz celebration at the ISAC is a family oriented craft and
educational event.It ends with members
of the University of Chicago Middle Eastern Music Ensemble (MEME) giving a
concert of Persian, Arab and Turkish music.I have participated in this event maybe a half-dozen times in my 12 years
with MEME.
MEME has grown dramatically in size over the years.At the concerts this year, we have 40-50
musicians and a choir of 20-25, depending on the concert.We have only taken a takht ensemble (Arab for
a small musical ensemble) to the Nowruz event as the stage is small.This year we had 9 musicians and 6
singers.It was the largest group we
have ever taken to this event.Only the
musicians were on stage, and the choir was in front of us, stage right.We introduced the instruments and spoke about
MEME and our next concert on May 23rd.We played two Persian songs, one Turkish, two
Arabic, one Kazakh song, and a song that has verses in Turkish, Arabic, and
Farsi.
There were two practices for this concert.The first was on the Thursday before, but a
little more than half of us were able to be there.The three of us playing Middle Eastern
Instruments were not able to attend that practice.The second was two hours before the concert.We walked into that practice not feeling we
were ready for the concert, but after two hours of focused work, we were ‘ready
for prime time.’
We had a grand time practicing and performing.The audience of 120 or so loved our
performance, maybe almost as much we enjoyed playing.It was a lot of fun and we were tight.We were energetic for the lively selections
and soulful for the laments. It was a great joy to play with my MEME friends.
If this were the only event, it would have been a beautiful musical
day.But, as soon as we were done, I had
to jump in the car and drive to Glenview to attend and provide some music at a very
special birthday celebration.
The birthday girl, MariAnne, is a lovely lady who was turning 90. Her parents
survived the Armenian Genocide and came to America.The lived in a part of Western Armenia, the
Ottoman Empire, where Turkish was the prominent language.They brought a love for Turkish music with them.MariAnne came to have the same love for the
music.I met her when I first moved to
Chicago in 2006.She was at night club we
were playing at and asked if would play what turned out to be some of the same
music I love.I gladly played, and sang
the songs.We became good musical
friends.
Her family planned a birthday party at the senior care facility where
she was living.It was in small party
room at the facility. The party was organized by her grandchildren for an intimate gathering of family and close friends.I was delighted when asked to come and play
some of her favorite songs, I immediately agreed to do it. But, I knew I only had an
hour to there.Driving through the often intense downtown traffic could take an hour or up to two hours.
Luckily, it only took an hour to get there.I ran up to the room and my friend John, who
was to join me on guitar, was already there.MariAnne’s grandson had a very nice sound setup for as.I began with a taksim.MariAnne lit up.I went into her favorite song,Kadifeden Kesesi,
and I delighted to see her singing along with me sitting right in front of us.She sang every word of every verse.She was so happy.After a few more songs, they brought out the
cake and we played and sang happy birthday.At similar parties, I would go into another Turkish song, Tin Tin Tini
Mini Hanum.I did so again and MariAnne’s her daughters and granddaughters got up and danced in a circle
around her.It was a joyous moment for
everyone!
We were all saddened when my cousin David informed us that his dad, my
uncle and Godfather, passed away.This week
he asked that we send him anecdotes and memories that might “reveal the kind of person he
was (i.e. personal qualities and characteristics).The idea is that people who didn't know him
would be able to read these and feel as if they did.”
Richard
Gavoor is my father’s younger brother.Most
people he knew in his adult and work life called him Dick.In the family, we knew him by his childhood
nickname, Buddy, and to my sisters and me has Uncle Buddy.My father Aram
Gavoor was Sonny.To their Armenian
contemporaries, it was always Sonny and Buddy.Their older sister was Seeran.
We
never lived in the same city or state.We lived in Detroit.Uncle Buddy
and his family lived first in St. Catherines, Ontario and then Summit, New Jersey.While we never spent enough time together, it
was always a pleasure to be with Uncle Buddy, Aunt Perk, and our cousins Susan,
Robin, and David.
Uncle
has been a big influence in my life. My mother was a major assistance in this
regard.She would always motivate me
with Uncle Buddy’s example both in terms of education and his subsequent success
in his career in corporate accounting and finance.In fact, mom wrote this perfect heartfelt
sentiment in a group chat earlier today.
There is
an Armenian saying, not necessarily when someone passes away, “ Varskud
Gadar”.Translation: A job well done.
To me this
says it all for Buddy in every way.
He
achieved his life’s goals by working diligently and maintaining his high
standards which guided him to success.
He was a
model son, brother, husband, father, grandfather, uncle, and devoted dear
friend to many.
Here are a few memories that came to mind today when I learned of Uncle
Buddy’s passing.
He once told me a story when he was a boy.They used to spend the summers on the family
farm in Andover, MA.He was working in
the field, and he slipped or somehow fell, and the tractor ran over his
legs.He related, “I immediately jumped
up and ran fast, screaming ‘My legs are broken.’But there was so much hay on the soft ground,
that I wasn’t hurt at all.”He was chuckling,
in his patented wry manner, at his reaction to what might have been more
tragic.
My grandmother one told me another story of the two boys, Sonny and
Buddy.My dad and some friends were
playing football in the street.Uncle
Buddy wanted to join in, but my dad wouldn’t let him for some reason.Uncle Buddy then went into the house and
called the police.He claimed to be the
Armenian neighbor who was sitting on his porch across the street watching the
boys play and complained about the racket.The police came and broke up the game.Uncle Buddy sat on his own porch across from the oblivious neighbor and watched
the whole scene unfold never saying a word.
Uncle Buddy was a lifelong athlete and devotee to health and
fitness.He was quite a sprinter both in
college and in the Armenian Youth Federation’s renown Olympic Games held every
Labor Day Weekend since 1933.He and my dad
were part of the famous Watertown Gaidzag team of six that won the 1953 Olympics.Uncle Buddy was named an Olympic King at the
1968 Games in Washington, DC.Read
more about the Watertown Six here.
Buddy taking first and Sonny coming in thrid
I remember how graciously happy and proud Uncle Buddy was in the mid-2000s
when his grandnephew, my son Aram, passed him on the all time high scorers
list.He was proud of his records and
achievements but delighted that another Gavoor passed him up.
As mentioned earlier, Uncle Buddy was a great example career wise for
me.We were all proud of his rise to
comptroller at Nabisco based in Manhattan and then in New Jersey.I remember when we visited the family in New Jersey
and I got to see his commuting lifestyle up close and how he would return home
in the evening, change his clothes, and rush off to his club to play tennis.He was always sharply attired, a true Brooks
Brothers man of those times.I remember the
awe I had for New York and that commuting lifestyle as a mere teenager.I remember sitting with him and discussing the
1985 takeover of Nabisco by RJ Reynolds that he lived through and later became
popularized in Tom Wolfe’s bestselling The Bonfires of the Vanities.
When he became older, Uncle Buddy took up golf.As with most sports, he dedicated himself to
it and became a pretty good player and a true devotee of the game.
I remember how proud we both were when I took a position at
Colgate-Palmolive in Manhattan in 1990.I
felt like I was emulating my Uncle Buddy and remember him congratulating me on
having a ‘Park Avenue office.’
My Uncle was a very nice and considerate man.He was a true gentleman and someone we could
all emulate.He had strong well-thought
out views but never lorded them over others.I admired that he was always willing to discuss and entertain different
perspectives.When asked for advice, he
would give various options and their pros and cons but would never make the
decision for you.
Uncle Buddy loved his family and his extended Gavoor-Asoian clan.He loved Armenian food and music.I loved that when I played at Armenian Picnics
in NJ he would come by to enjoy both the Armenian fare and my music.I will miss him but relish these and other
precious memories.
As
we Armenians say, Աստուածհոգինլուսաւորէ (Asdvadz
hokin lusavoreh), may God illuminate his soul.
I started this writing project, This Side of Fifty, in February of
2002.It began as a monthly e-letter
that I sent to a list of family and friends.In 2009, I moved it all over to this blog and began posting more often
than just once a month.This, is the
second post of the Volume XXIII.I have
never published a book, but I have enough posts over the years for a book or
three.As noted in previous Anniversary e-letters
and blog posts, this has been a most worthwhile and rewarding project.I am also both amazed and very proud that I
have stuck with it for so long.
There were only 40 posts in Volume XXII.That is the least number of posts since
2017.What was the cause of that drop in
productivity?I wrote about it a twice
last year in One
A Day and A
Lethargic July.The lower
productivity was due to a lethargy which I can attribute to my two knee
replacements, the left one in January and then the right one in June.The surgeries, which could be viewed as ‘routine,’
took some of the veritable wind out of my blogging sails.I feel good and feel somewhat back to normal.But at my age, any loss in concentration is a
wee bit worrisome.
While my blogging numbers sagged, I wrote 55 poems during the same
time period.That was the most poems I have
ever written in a year.Oddly, it took me
about the same amount of time to write a poem as it takes to write a blog post.I am not sure I have a great explanation for
this beyond it being the impact of two anesthesias somehow slowed down the
prose part of the brain whilst unshackling the poetic lobe.I do lament for not having more posts here,
but I am pretty happy with my poetry blog:Mark Gavoor’s Poetry.
While I have no issue with putting my thoughts out there for all to
read on this blog.I am much shier about
doing the same with my poetry.Before,
creating This Side of Fifty, I worried a bit about ‘putting myself out there.’It was an unnecessary worry and I got over
quickly.When it comes to poetry, my
lack of confidence has lasted decades longer.Poetry is less popular and basically the domain of English professors
around which I feel like a poetic poser.Correction, I used to feel that way.No more.
Part of writing is to find one’s voice and then embrace and refine
it.I believe, I have a poetic voice and
have refined it over the years.I
comfortable with it.Heck, I am now happy,
proud of it, and, indeed, embracing it.I
care about how others react to it.But
that is their right.If I can learn from
their criticism and refine it that is good.Otherwise, in my current state of mind, it doesn’t matter to me.
There is a saying that ‘when one door closes, another opens.’In this case it seems to be more like, ‘when one
door closes a wee bit, another is blown wide open.’In this case, it is a very good thing.
you texted a very simple thought "it's life you know" i started to type and backspace and type and delete again and once more
then... i just stopped just sat there with nothing nothing to say nothing clever no insight no whimsy certainly nothing deep or profound nothing at all to convey
i just sat there the sound of one mind doing nothing idling, stalled on the bay of eerie tranquility
"it's life you know" i guess i do maybe the best poem i ever read
During this year’s Armenian Heritage Cruise (AHC), a restored silent film premiered on Jan. 11, accompanied by a newly composed soundtrack.
The Melody of Armenia
tells the story of Mrs. Ghazarian, a genocide survivor living in France
in the 1920s. She had six children, five of whom perished during the
genocide. Her surviving son lives with her, and together, they attempt
to rebuild their lives in exile. Like many survivors, Mrs. Ghazarian is
haunted by the horrors she lived through and is deeply despondent over
the loss of her family and the fate of the Armenian people. To her, the
future appears bleak.
Her son tried to comfort her by
pointing to the resilience of Armenians in the diaspora, offering
examples of what they have built for themselves in France. He speaks of
young Armenians thriving, carrying a long and proud cultural heritage,
and urges his mother to take hope in the eternal Armenian spirit.
Avetis Aharonian (left) and Alexander Khatisian (right)
While this lovely and inspiring
narrative frames the film, it is not the real gist of it. Rather, the
story of the mother and son serves as a vehicle to show rare historical
film footage of real events. As the film opens, scenes of the burning of
Smyrna accompany the mother’s painful memories. When the son speaks of
Armenian renewal in France, the audience sees images of Armenian
schools, scouting organizations and community life.
There is precious film footage of Armenian luminaries such as Alexander Khatisian, who held several posts in the First Armenian Republic, including prime minister, and Avetis Aharonian,
the famed writer and chairman of the Parliament of the First Republic
of Armenia. While the footage from Smyrna is certainly harrowing, the
scenes depicting Armenian life in France during the 1920s are true
treasure troves. It would be wonderful if similar films existed
documenting Armenian life in Beirut, New York, Fresno, Boston and
Detroit of that era.
This historical footage is the bulk of The Melody of Armenia and
is what makes the film so special, valuable, endearing and a ‘must see’
for all of us. Visually, the film remains remarkably strong, despite
being so old. The newly composed soundtrack is spectacular and really
helps bring the silent images to life for modern audiences.
Not only did I have a chance to
preview the film before its premiere, I also had the wonderful
opportunity to talk with the two people responsible for restoring and
reviving it. First and foremost is George Aghjayan, who found the movie
in the Hairenik
archives and led the restoration effort. George then recruited Mher
Mnatsakanyan, who created the new soundtrack in collaboration with the
gifted composer Martin Ulikhanyan.
HMEM Scouts
Aghjayan graduated with honors from
Worcester Polytechnic Institute in 1988 with a bachelor’s degree in
actuarial mathematics and became a fellow of the Society of Actuaries in
1996. After a career in insurance and structured finance, he retired in
2014 to concentrate on Armenian research and cultural projects. His
primary area of focus is the demographics and geography of Western Armenia,
with a keen interest in the hidden Armenians living there today. He has
also written and lectured extensively on Armenian genealogy and
genocide denial and served on the Central Committee of the Armenian
Revolutionary Federation (ARF) — Eastern United States, as well as the
national board of the Armenian National Committee of America (ANCA).
Mnatsakanyan is a renowned Armenian
musician and performer. He began his musical training at the Alexander
Spendiaryan Music School and later earned a master’s degree in music
performance from the Komitas Yerevan State Conservatory. Widely
recognized as a master of the duduk, Armenia’s national instrument, he
is also a skilled multi-instrumentalist who performs on the zurna and
clarinet, blending traditional Armenian sounds with a refined modern
sensibility. Based in Los Angeles, he travels frequently to perform at
cultural festivals and community events.
Below is a summary of my conversations with George Aghjayan and Mher Mnatsakanyan.
Mark Gavoor (M.G.): Where and how did you come across this film?
George Aghjayan (G.A.): In
early 2017, the ARF Bureau approached me to see if I was willing to take
on the role of director of the ARF Archives. I agreed, as I had a
strong interest in the archives and in making them more accessible to
researchers. At the time, there was not much of a handoff of knowledge,
though I had the benefit of Unger Tatul Sonentz Papazian and his
infinite wealth of information about the archives’ history.
The first year or so, I focused on
creating space for researchers to work, as that had not existed. In the
summer of 2018, while moving boxes in the vault, I attempted to move a
metal container that boxes had been stacked on with my foot. I thought
it was empty, but it had significant weight to it. So, I moved the boxes
to find a Western Union shipping container. There was a label on it,
indicating it was being shipped from N. Porigian, 108 1/2 Main St.
Binghamton NY to ARF Committee c/o B. Kavafian, 504 W. 178 St., New
York, NY. A bit of genealogy research indicated that Nshan Porigian
lived at that address in Binghamton from 1930 to 1932, so that supplied a
timeline.
M.G.: What is it about? What is the name of the film?
G.A.: Inside the container, I found six reels of the film ԵրգնՀայաստանի / Les Melodies de l’Arménie, or The Melody of Armenia.
At the time, I had no ability to view
the film. I had brought it to a company I had previously used for
digitization purposes, but I received a call late on a Friday night
telling me I had to pick it up immediately. The owner had noticed the
film and realized their office was at risk. Until then, I had not
realized the risks involved.
Avetis Aharonian
M.G.: What is the backstory of the film? How did you learn about it?
G.A.: I researched the film as best I could and found articles in a number of newspapers, including the Hairenik Daily. The film stated it was an Historical Documentary Film by Cinema Armenia and directed by N. Gorkanian/Corganian.
One of the actors, Shahan Saryan, was
a well-known actor in the Middle East in the 1920s. The other actor was
simply named Knarig, no surname. A 2002 article in Haratch mentions the film in the context of Atam Egoyan’s Ararat film and Turkish censorship, suggesting that Knarig was Charles Aznavor’s mother — a claim I found likely not to be true.
In any event, the first mention I find of the film is in an advertisement in the Dec. 14, 1930 issue of Haratch.
The film was being shown on Dec. 26, possibly its premiere. There were
additional ads in January 1931 for showings in Paris and Marseilles. The
first article describing the content of the film I was able to find was
the Feb. 21, 1931 issue of the Hairenik Daily, which announced the film would be shown around the U.S. The Feb. 6, 1932 issue of the Hairenik Daily announces
the showing of the film in Franklin Union Hall, 41 Berkeley Street,
Boston on Feb. 14. It could be this copy of the film that remained at
the Hairenik Building after the showing.
M.G.: Who made it — director, producer, actors — and where and why was it made? Was it commissioned?
G.A.: There is a very informative article in the Arev
newspaper of Cairo dated Aug. 25, 1931, written by the director, N,
Gorkanian. He states that the film had been submitted to the censors of
France and successfully received a license number (40049).
They demanded the film be reviewed a second time and, after that review, demanded the following changes: 1. Change the name of the film 2. Remove the last scene that includes the Armenian flag, Etchmiadzin and Mount Ararat.
M.G.: Clearly, you decided to do something with this film. What was your initial vision, and how has that evolved?
G.A.: From the beginning, my
objective was to digitize the film for preservation. I also hoped to
show the film around the world. Not only was the film historically
important and unique, but screenings could be used to bring awareness to
the rich history of the ARF archives and funds raised to create an
endowment for the archives. But to show the film required a score, which
did not exist.
Mother and Son
s
M.G.: What shape was the film in when you found it? Did it need restoration?
G.A.: I forget the exact
timeline, but I was in Washington — either lobbying or lecturing ANCA
interns — and stopped by the Library of Congress (LOC) to visit with the
Armenian-area specialist at the time, Levon Avdoyan. I brought up the
film, and he put me in touch with people at the LOC who handle similar
films. They, in turn, put me in touch with a company in Maryland that
digitizes nitrate film for the LOC. My wife and I personally drove the
film down, to remove any risk of shipping the sole copy of the film
known to exist. In July 2019, I received the digitized version. The
physical film is still with the company, until such time as the ARF
Archives gifts it to the LOC, as they are better suited to store the
film long-term.
M.G.: As a silent film, was there any documentation or score for the piano?
G.A.: There was no score that I
am aware of, though I feel like, at some point, I found reference to
songs that may have been played during showings of the film. Regardless,
as the film has actual footage of the burning of Smyrna, my initial
hope had been to have the film completed in time for the 100th
anniversary of that tragedy. However, for various reasons, my attempts
at getting a soundtrack fell through. And time kept passing, much to my
frustration.
M.G.: The film includes title
frames. What languages are used, and what languages do you plan to
include in your re-issuing of the film?
G.A.: The original film has
title frames in both Armenian and French. I am replacing the French text
with other languages so that the film can be shown in any country. The
Armenian text will remain as in the original. Currently, the text for
the English and Arabic versions has been done, and those versions of the
film will be created. Greek is another priority language, given the
significance for the community there. Last summer, I met with a museum
in Athens that is interested in sponsoring a showing of the film.
M.G. How did you, wisely, choose Mher to be the musical director/composer for the soundtrack?
G.A.: One year ago, while we
were both on the Armenian Heritage Cruise, I approached Mher about the
film and the concept. I still remember us on the top deck of the ship as
I played the film for him. Mher’s response and passion for the project
moved me, and I knew he was the right person to make this happen. As I
am not a musician or musical in any way, my concepts were crude. It was
Mher and the team he put together who took my initial thoughts, expanded
on them and turned them into something special. From the time last
year’s cruise ended, they worked tirelessly and the final score was
completed at the end of August. Since then, I have been working on
translations and final edits.
M.G.: When and where will the film premiere?
G.A.: It seemed natural that
the premiere of the film would be on the 2026 Armenian Heritage Cruise.
Once it has premiered there, we will work on showings in the U.S. and
around the world.
Avetis Aharonian at his desk
M.G.: Mher, what was your reaction when George called you?
Mher Mnatsakanyan (M.M.):
George and I first met during the last 44 days of the Artsakh war, while
protesting with the Armenian community in Worcester, Massachusetts.
During that time, he invited me to be part of this project. That idea
was reaffirmed on the Armenian Heritage Cruise in January 2025, when we
met again on the ship. My initial reaction was one of excitement and
responsibility; I wanted to make sure I could give my very best to this
wonderful project, and I truly believe it led to an incredible final
result.
M.G.: How did you approach composing the music? Have you ever done work like this before?
M.M.: It took about a month to
craft the complete musical agenda and select the ensemble of musicians
who would participate in this fabulous project. I reached out to my
childhood friend, film composer Martin Ulikhanyan in Armenia, and
together we began brainstorming ideas for the film’s musical language.
Our approach was to create improvisational fragments based on a variety
of renowned Armenian melodies that best capture the film’s narrative and
each of its episodes, as well as some original pieces. My prior
experience performing for film projects, especially during my years
working at Disney World, proved invaluable.
M.G.: Who else was involved?
M.M.: It took some careful
thought to decide who I wanted to invite into this project. After many
back-and-forth discussions with my friend Martin, we arrived at what I
believe is the best possible ensemble: myself as the soloist on duduk,
clarinet and shevi; the Ulikhanyan sisters, Vika and Lyana, on violin
and cello; and Lilit Zakaryan on piano.
M.G.: Was the music newly composed or based on existing works?
M.M.: Yes, the film features beautifully crafted fragments of beloved Armenian music, including pieces such as Krunk,
traditional war dances and sacred liturgical melodies. Each of these
was thoughtfully and specifically arranged to enhance the emotional arc
of the story and to illuminate the film’s key scenes and episodes.
M.G.: How challenging — and rewarding — has this process been?
M.M.: Bringing this project to
life required countless days and sleepless nights filled with
discussions, phone calls, recording sessions and editing work with sound
engineers, both here and in Armenia. Coordinating across time zones
often made the process extremely challenging, but step by step,
everything came together. In total, it took us nine months to complete,
and it stands as one of the greatest highlights of my musical career —
something I truly could not be more proud of.
M.G.: Will there be occasions to perform the soundtrack live?
M.M.: The premiere of the film
will take place on the Armenian Heritage Cruise on Jan. 11, 2026, the
very same AHC where George and I first agreed to bring this artistic
vision to life. On that day, we will also release a CD in Armenia, and
the music will be available on all major digital platforms, making it
accessible to listeners around the world. We also plan to perform the
film live as a fundraising event in support of the ARF Archives. I am
truly excited to share this phenomenal work with a wider audience.
Looking ahead to July 2026, through
my connections in Armenia, we are also exploring the opportunity to
present a live performance of the film in Armenia, within the framework
of the Golden Apricot International Film Festival.
= = =
I urge everyone to see this amazing
film when it comes to your city. It was a labor of love for both George
and Mher and I, for one, thank them deeply for their efforts. Until you
have the opportunity to see the film, the soundtrack album is available on a variety of platforms.
