Alexander Chaushian (cello); Armenian National Philharmonic Orchestra/Eduard Topchjan (BIS)

Armenian Cello Concertos
Works by Khachaturian, Babajanian, Michel Petrossian
Alexander Chaushian (cello); Armenian National Philharmonic Orchestra/Eduard Topchjan
BIS BIS-2648 (CD/SACD)   68:30 mins

Is there such a thing as an Armenian sound? The three concertos gathered here might suggest there is one, if you go by the liner note. Alexander Chaushian makes much of the Armenian and Georgian folk elements in the Khachaturian work, talking of its Georgian dances and its use of the (Armenian) Ashug improvisatory style, while Michel Petrossian, introducing his own concerto, goes on at length to explain how Armenia’s holy mountain – Ararat – has inspired both the work’s texture and its structure.

Its title, he says, refers to the first mention of Ararat in the Book of Genesis, and the proportions of his work correspond symbolically to the proportions of the mountain; he then goes into detail about the contrasts between the writing for each movement, and points to the incorporation of Armenian and Byzantine liturgical chants. But you’d have to listen with extremely close attention to this 12-minute work if you wanted to catch everything the composer says he has put into it. It’s highly condensed, with the cello moving gracefully through thickets of sound created by strings, high woodwind and piano, and it invites us into an interesting sonic environment, but there’s little discernibly Armenian in that sound.

Babajanian’s Concerto does in several ways sound a dark mysteriousness which might be thought Armenian. But its beauty lies in its finely wrought effects, brought into high relief by the refinement of Chaushian’s playing.

Khachaturian – often celebrated as the musical voice of Armenia – is represented by a work which has echoes of his ballet Gayaneh. But essentially it’s a mid-century European work, full-bloodedly tonal, and rich in invention, and Chaushian’s expressive style highlights its many virtues. I immediately needed to listen again, to savour both the effects and the brilliance with which they are knitted together.

Michael Church