A Family’s 400-Year-Old Musical Secret Still Rings True

New York Times
Aug 3 2018
 
 
A Family’s 400-Year-Old Musical Secret Still Rings True
 
 
By Lara Pellegrinelli
 
Aug. 3, 2018
 
The surest route to a drummer’s heart? Cymbals.
 
“You can have all the swirling harmony in the world,” the drummer Brian Blade said, “but only the cymbals can put you over the top of that mountain you’re trying to climb. The tension is the beauty of it, like riding a wave until you need it to crest.”
 
Mr. Blade, who is best known for playing with the country music singer Emmylou Harris and the jazz saxophonist Wayne Shorter,  said he thinks of his cymbals as an extension of himself, though he also gives credit for his distinctive sound to the instruments he plays: Zildjians. He has endorsed the brand for 20 years, just one in a long, diverse roster of musicians to do so.
 
Zildjian was incorporated in the United States in 1929. But the company’s relationship with drummers, and drumming itself, dates back much further: 400 years to be precise, to 1618, when a secret casting process resulted in the creation of a new bronze alloy for the court of Sultan Osman II, the ruler of the Ottoman Empire.
 
“My father always said that the name is bigger than any one person in the family,” said Craigie Zildjian, the company’s chief executive officer (the first woman to have the job), a member of the family’s 14th generation of cymbal makers. “In other words, you have this little piece of 400 years. Don’t screw it up.”
 
For the 3,000 or so years before 1618, cymbals had evolved very little. The earliest evidence of them can be found on pottery fragments from Hittite Anatolia dating to the Bronze Age. Metallic percussion was long part of the military music for Turkic tribes including the Seljuks, who migrated to the Middle East in the 11th century. (Some “had horns, others pipes and timbrels, gongs, cymbals and other instruments, producing a horrible noise and clamor,” reads a description of battle during the Third Crusade.)
 
The sound quality of these boisterous instruments might have left something to be desired by the 17th century, an age of Ottoman musical refinement. It was then that Avedis I, a 22-year-old Armenian metal smith and aspiring alchemist, learned that mixing ample tin into copper would produce a rich, robust sound. But he faced a formidable problem. “It’s a very brittle alloy,” Paul Francis, Zildjian’s director of research and development, said. “It will shatter like a piece of glass.”
 
Then Avedis I made a music-altering discovery — still carefully guarded by the family — that involved forging a metal so flexible it could be repeatedly heated, rolled and hammered into the finest instruments. “He was looking for gold,” Mr. Francis said. “As far as I’m concerned, he found it.”
 
 
Osman II thought so: He granted the young artisan permission to make instruments for the court and gave him the Armenian surname Zildjian (meaning “son of cymbal maker”). The family set up shop in the seaside neighborhood of Samatya in Constantinople, where metal arrived on camel caravans and donkeys powered primitive machines.
 
Those working in Zildjian’s shop produced cymbals for the mehter — monumental ensembles with double reeds, horns, drums and other metallic percussion that belonged to the empire’s elite janissary military corps. The Zildjians likely also did business with Greek and Armenian churches, Sufi dervishes and the Sultan’s harem, where belly dancers wore finger cymbals.
 
“Military music was a branch of their classical music,” Walter Zev Feldman, the author of “Music of the Ottoman Court,” said. Although mehter ensembles were known in the West for playing in battle, they also performed courtly suites for its rulers, like those by Solakzade Mehmed (1592-1658), who wrote under the name Hemdemi.
 
Every morning before prayer, and every evening after prayer, ensembles gathered to play from castle towers, including one above the gardens of Topkapi Palace. Hand-held cymbals measuring a foot or so in diameter probably marked the rhythmic cycles, which Mr. Feldman said “are among the most complex in the world: cycles of 24, 28, 32 and even 48 beats.”
 
It’s no wonder that composers like Gluck and Mozart wanted to emulate a Turkish style with busy, glittering percussion. Precisely what Ottoman music they heard is an open question, though. A handful of European rulers adopted mehter ensembles or sent their kapellmeisters to Constantinople to learn the tradition, but the composers more likely were exposed, Mr. Feldman said, to “klezmorim, local Jewish musicians, in places like Prague and Berlin, who had learned the Ottoman repertoire.”
 
 
What came to be known simply as “Turkish cymbals” were assimilated by European orchestras and, in the first half of the 19th century, into new military and wind band styles that thoroughly integrated West and East. Meanwhile, the janissaries, having assassinated one too many sultans, were outlawed and executed in 1826 — as were their mehter musicians. The Zildjians lost a significant portion of their market.
 
Avedis II built a 25-foot schooner to transport the first cymbals physically bearing his family’s name to London for the Great Exhibition, the first world’s fair, in 1851. His brother Kerope assumed the company helm in 1865, establishing a line of instruments named K Zildjian in several sizes and thicknesses that are still prized by percussionists today.
 
Those old K’s — which possess the “sound of two gladiator swords meeting,” in the words of Armand Zildjian, Craigie’s father — can be heard in the Philadelphia, Cleveland and Metropolitan Opera orchestras, among others. Gregory Zuber, the Met’s principal percussionist, said, “It’s a tradition that’s been handed down from player to player” and that can be heard in the tremendous, exposed crashes that heighten the drama of the 19th-century operas.
 
In America other musical forms began to shape, and be shaped by, the cymbal’s evolution. Avedis III, a Boston candy maker who left Turkey before the Armenian genocide, was reluctant to take over the family business when it was thrust upon him by his uncle Aram in 1927. But he changed his mind after checking out the growing dance band scene: “I saw the possibility that even if there wasn’t a market we could create one,” he recalled in a 1975 interview with The Armenian Reporter.
 
According to Jon Cohan’s book “Zildjian: A History of the Legendary Cymbal Makers,” drum shops and catalogs in the 1920s were likely to carry only so-called Oriental cymbals, American ones made of brass and nickel silver, and the weighty K’s from Constantinople. Avedis III sought out swing drummers, like Gene Krupa, and learned that they preferred Turkish cymbals but wanted them to be thinner and more responsive — “paper thin,” as Krupa put it.
 
The new instruments Avedis III developed and trademarked under his name had the crispness to cut through the sound of a big band. And, paired in hi-hats, cymbals took over the time keeping responsibilities from the laboring bass drum, a technique pioneered by Jo Jones of the Count Basie Orchestra.
 
“It gave you that upbeat that puts the snap in a dancer’s foot: down, chit; down, chit,” said Mr. Blade, who uses 1940s-era Avedis Zildjians in his drum kit. By the mid-1930s, celebrities including Chick Webb, Buddy Rich and Lionel Hampton were coming to the Zildjian factory in Quincy, Mass., to pick out their cymbals, with help from Avedis’s fine ear.
 
His experimentation producing novel cymbal types — swish and sizzle, bounce and crash —  would inspire a new generation of musicians to utilize a broader sonic palette. The bebop drummer Kenny Clarke led the pack by keeping a flexible, furiously paced, highly individualistic beat, probably on 17-inch Zildjian bounce cymbal. That instrument, later named a ride,  became a cornerstone of modern drumming.
 
Touring the factory, which now sits in a leafy industrial park in Norwell, Mass., is the drummer’s equivalent of stumbling into Willy Wonka’s chocolate factory. “We are the music makers, and we are the dreamers of dreams,” Mr. Francis, the director of research and development, said, quoting the movie, as he led the way on a recent visit.
 
A line of Gen16 products attempts to create an electronic cymbal that looks and feels like a real cymbal instead of a drum pad. A low-volume practice cymbal that looks like mesh is selling well among drummers in Asia who live in apartments with thin walls.
 
 
The lobby has the feel of a show room, with kits on display that belonged to Travis Barker (Blink-182), Tré Cool (Green Day) and Ginger Baker (Cream), along with a replica of Ringo Starr’s. “We all know what happened in 1964,” Mr. Francis said, referring to the British Invasion. “We had 90,000 cymbals on back order.”
 
A lounge gives drummers a place to try out their instruments or simply hang out while waiting for an order. Some, like Joey Kramer of Aerosmith and the famed session musician Steve Gadd, prefer to watch from the factory floor.
 
Metal glows hot from the furnace, and rolling machines spit out silvery pancakes of zinc-oxide-coated bronze, collected with coal shovels. Armand Zildjian modernized the factory using robots to remove the most burdensome physical labor and offer greater precision in tasks like hammering. (His younger brother Bob broke from the company 1981 and founded his own cymbal manufacture, Sabian, in Canada.)
 
Today, each instrument still passes through the hands of dozens of highly skilled workers. “Paper thin” is not measured by tiny calipers, but by lathe operators shaving off golden ribbons and checking to make sure their work falls within a certain range on digital scales.
 
The head cymbal tester, Leon Chiappini, who has worked at the factory for 57 years, listens to each one multiple times with a standard in mind and pairs them. But like drummers, no two are exactly alike.
 
more photos at
 
 
 
 
 
 
 

The Met (NY) Exhibition Overview: Armenia Sept. 22 – Jan

The Metropolitan Museum, NY
ARMENIA
At The Met Fifth Avenue
September 22, 2018–January 13, 2019


This is the first major exhibition to explore the remarkable artistic and cultural achievements of the Armenian people in a global context over fourteen centuries—from the fourth century, when the Armenians converted to Christianity in their homeland at the base of Mount Ararat, to the seventeenth century, when Armenian control of global trade routes first brought books printed in Armenian into the region. 

Through some 140 objects—including opulent gilded reliquaries, richly illuminated manuscripts, rare textiles, cross stones (khachkars), precious liturgical furnishings, church models, and printed books—the exhibition demonstrates how Armenians developed a unique Christian identity that linked their widespread communities over the years. 

Representing the cultural heritage of Armenia, most of the works come from major Armenian collections: the Mother See of Holy Etchmiadzin; the Matenadaran (Ancient Manuscripts); the National History Museum in the Republic of Armenia; the Catholicosate of the Great House of Cilicia in Lebanon; the Brotherhood of St. James in Jerusalem; and the Mekhitarist Congregation of San Lazzaro degli Armeni in Venice.

Almost all of these works are on view in the United States for the first time; some have not travelled abroad for centuries.

#MetArmenia


The exhibition is made possible by The Hagop Kevorkian Fund.

Additional support is provided by the Carnegie Corporation of New York, the Armenian General Benevolent Union, The Giorgi Family Foundation, the Karagheusian Foundation, The Nazar and Artemis Nazarian Family, the Ruddock Foundation for the Arts, The Strauch Kulhanjian Family and The Paros Foundation, Aso O. Tavitian, and the National Endowment for the Arts.

The catalogue is made possible by the Michel David-Weill Fund, The Andrew W. Mellon Foundation, the Dolores Zohrab Liebmann Fund, the Ruben Vardanyan and Veronika Zonabend Family Foundation, Joanne A. Peterson, The Tianaderrah Foundation, The Armenian Center at Columbia University, Elizabeth and Jean-Marie Eveillard, and Souren G. and Carol R. K. Ouzounian.

Armenian defense ministry spox mocks Azeri claims of ‘controlled areas’ in Nakhijevan border section (photos)

Category
Region

Armenian defense ministry spokesperson Artsrun Hovhannisyan has released photos showing Ordubad – the second largest town in Nakhijevan – and nearby villages. The photos were taken from Armenian positions, he said.

“If this means to control, then turns out we are fully controlling Ordvan-Ordubad and nearby villages. I personally took the photos,” Hovhannisyan said on Facebook, sarcastically referring to the recent Azeri reports where they would take photos of certain Armenian locations in that border section and claim control over it.

[Go to the website for the pictures]

Nikol Pashinyan did not give up the idea to reduce the powers of the prime minister

Arminfo, Armenia
Nikol Pashinyan did not give up the idea to reduce the powers of the prime minister

Yerevan July 20

Naira Badalyan. The head of the Armenian government plans in the future to review his own powers, enshrined in the new Constitution of the Republic of Armenia. Prime Minister Nikol Pashinyan announced this on July 20, commenting on the journalist's question about "how convenient it is for him to dress as a super-prime minister."

According to Pashinyan, he did not abandon the idea at the legislative level to reduce the powers of the prime minister. Today, as well as when he was an oppositionist, Nikol Pashinyan believes that there should not be a super-premier institute in Armenia.

As the prime minister pointed out, it is necessary to do this in a way that does not violate the stability of the entire state system. In the future, according to Pashinyan, establishing new powers, Armenia should balance not between the president and the prime minister, but between the government and the parliament, as is done, say, in Germany.

When exactly there will be legislative changes that will lead to the eradication of the institution of super- premiership, established by the "legislative efforts" of the authors of the new Constitution, today the head of the Armenian government refrained from calling.


Book: Secret Nation review: insight into the invisible Armenians in Turkey

Irish Times

Avedis Hadjian presents a genocide-scarred culture where Armenians deny their identity

Martin Doyle

Sat, Jul 21, 2018, 05:46

   
                      

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If you’ve ever visited Turkey, you will have encountered people you assumed were Turkish but who could well have been Armenian. Avedis Hadjian, author of Secret Nation: The Hidden Armenians of Turkey, spent three years travelling round eastern Turkey, the historic Armenian homeland, meeting those mountain people who keep a low profile in a country accused of murdering or deporting about 1½ million of their people. The account of these horrendous times is littered with euphemisms such as “forced migration” or “forcibly minoritised”. Though always denied by Turkey, the word soykurum – Turkish for genocide – encompasses the whole sorry story.

Hadjian is part of that story. A journalist, born in Aleppo and educated in Buenos Aires and Cambridge, he bears an Armenian family name and, of vital importance, speaks Hamshetsnak, the almost-forgotten dialect of western Armenia which is now part of Turkey. During his travels, he seeks out people in the villages and towns of that most mountainous part of Turkey, chatting with  anyone who will talk to him.

Generally, he is welcomed courteously, guided along perilously steep mountain paths, offered lifts from one village to the next often with someone phoning ahead to introduce him. But nearly always there is the denial: No, we’re not Armenian. We are Turkish and we are Muslim. But your name, Hadjian will say having done his research, is Armenian. At this they shake their heads. Maybe many years ago but not now. Some see him as stirring up trouble for them and on one occasion are angry enough for him to beat a hasty retreat.

But why the denial? One explanation is that after the defeat of the Ottomans and their 300 years of Sunni rule, people wanted a united Turkey, some wanting it at any price. Turkey for the Turks was the call. Villagers tell Hadjian stories their grandparents told them of Armenian villages laid bare, of Armenians hunted, hounded and pushed off bridges into the Euphrates or dying during forced marches across the Syrian desert. (In eastern Syria, in the Armenian church in Raqqa, I saw pictures of Armenian women against whom the most evil of sexual crimes had been committed.)

Some Armenians, hoping to pass as Turkish, survived by adopting Islam, freely or otherwise, the latter process known as Islamicisation. Coincidentally, Hadjian introduces us to a bus driver who explains the policy by holding up his index finger: one country, one flag, one language. No room for minorities there.

When survival is paramount, the denial of their origins by some Armenians is understandable though Hadjian is puzzled by the reaction of people to whom he has shown documents proving they are Armenian. Many respond with amazement, wanting to know more about their supposed Turkish origins or their suggested Armenian background. And despite the evidence, they maintain that though they may indeed be Armenian they remain Muslim even though before going to the mosque to have Iftar they might deviate to the Armenian Orthodox Church to light a candle or two.

Some Armenians actually designated themselves Turkish – which meant remaining silent about the genocide – because they invested their hopes in Kemal Ataturk and his post-Ottoman dream of a united secular Turkey.

Though teetering towards information overload – so many villages, so many people – this doorstop of a book gives us a fascinating if challenging account of present-day mountain life in Turkey: the annual tea harvesting done by the whole family, sheep herding, hoeing in the shadow of Mount Ararat. There’s the big family meal and the get-together which ends in fisticuffs. As the Persian saying goes: “They hate each other like cousins.”

Whatever you say, say nothing is the order of the day. Armenians distrust the Kurds, suspecting they collaborated with Turks to carry out the 1915 genocide. The Turks see the Christian Armenians as infidels and the Christian Armenians denigrate those Armenians who became Muslim. Distrust casts a shadow over everything. Occasionally, however, Hadjian shines a light into the darkness when Vartan tells his story. Vartan’s Armenian father, orphaned when his family was murdered, was taken in by a kindly Turkish family who brought the child up as a Muslim. Vartan was 25 before he learned he was actually Armenian. But, married to a Kurd, their children Muslim, he lives in a desolate place not of his making: “I feel alone and cold,” he says.

For those dispossessed of their past, the Armenia story is one that has yet to reach its ending.

https://www.irishtimes.com/culture/books/secret-nation-review-insight-into-the-invisible-armenians-in-turkey-1.3566917

Parents of March 1 victims looking forward to meeting with PM Pashinyan (video)

“We all want to see him, say that you have won, good job, and we are sure you will find out the cases of our children.”

The parents of 10 victims of March 1, 2008, want to meet with Prime Minister Nikol Pashinyan. “We all want to see him, say that you have won, good job, and we are sure you will find out the cases of our children. We also have several questions to ask, the  monument should be installed,” Sargis Kloyan, father of Gor Kloyan, told “A1 +”.

Parents of the victims hope that the case of March 1, though not at once, will be fully discovered during Nikol Pashinyan’s government. “The moment of the parents’ dream – April Revolution, led by Nikol Pashinyan, came. If it were no power, the parents would continue to be deceived  “said Vachagan Farmanyan, father of Armen Farmanyan.

“It is already our power, we can say that a new Armenia, a new government. The investigators have already changed, the NSS has changed, the SIS has changed, it can be said that Aghvan Hovsepyan has run away, and our senior investigator Vahagn Harutyunyan has left the case on March 1,” Sargis Kloyan said.

Former Defense Minister Mikayel Harutyunyan is wanted for the March 1 case.  Head of Robert Kocharyan’s office Victor Soghomonyan has already stated that the army was brought to the capital those days for internal security and thus the Constitution was not violated.

“I am sorry, but Soghomonyan is wrong. There is no state of emergency in the Constitution, there is only a martial law, and in that case they could bring in the army during an ultra-violent situation. I saw with my eyes the soldiers in cars, in streets of Melk-Adamyan and Tigran Mets, from 17:30 to 18:00,” Sargis Kloyan said.

The relatives of the victims of March 1 await Robert Kocharyan’s interrogation and are eager to hear the answer of the key question: as a supreme commander-in-chief, why did he order to shoot people? Robert Kocharyan promised to come to the SIS after July 25, when he returns to Yerevan.

661 branded hotel rooms to open in Armenia in 2018: report

PanArmenian, Armenia

PanARMENIAN.Net – 661 branded hotel rooms will open in Armenia throughout 2018, analysis by JLL Hotels & Hospitality Group, Russia & CIS revealed, according to TravelDailyNews International.

Data provided by the JLL reveals that 114 branded rooms have already opened in Armenia, while the remaining 547 will open in the course of the year.

All the 114 rooms are those of The Alexander, a luxury hotel that was inaugurated in downtown Yerevan in late March. Part of the world-renowned chain of Luxury Collection Hotels owned by Marriott International, The Alexander meets the best international standards and was built with quality materials and furnishings.

An estimated $54 million were invested in the project. The hotel, which can accommodate up to 230 visitors simultaneously, offer a variety of luxury rooms, including family suites and a presidential suite, as well as at least four restaurants and bars.

In terms of the geography of new hotels, 6,000 branded rooms (or 62% of all planned for 2018 new room stock) in the CIS and surrounding countries are announced in Russia. Further, the highest activity of international brands is in Georgia and Kazakhstan (approx. 1,000 rooms in each country).

85 branded hotel rooms will open in Azerbaijan in the reporting period.

Azerbaijan commits 155 individual ceasefire violations in Artsakh in one week

Categories
Artsakh
Region

Azerbaijan made over 155 individual ceasefire violations in the Artsakh line of contact over the week ( July 1 – July 7 ), the ministry of defense of Artsakh said.

According to the ministry, Azerbaijani troops used various caliber firearms to fire more than 1500 rounds at Artsakh positions.

“The Defense Army [Artsakh] continues to be in control of the tactical-strategic situation and takes necessary steps for reliable organization of protection of combat positions,” the ministry said in a statement.

Serzh Sargsyan’s diplomat brother Lyova Sargsyan declared wanted in suspicion of white-collar crime

Category
Society

Former President Serzh Sargsyan’s brother Lyova Sargsyan, a diplomat serving as Ambassador at-large, has been charged by the special investigative service for not declaring property and illicit enrichment. Lyova Sargsyan’s daughter Ani, and son Narek have also been charged.

Narek Sargsyan owns shares of JLJ PROJECT COMPANY. His house was searched by detectives and bank papers showing undeclared deposited 6,800,000 USD were discovered. The papers, dated in the second semester of 2017, were under the names of Lyova Sargsyan, Narek himself and his sister, Ani.

Under the law, officials and their families have to file asset declarations.

Lyova Sargsyan and his children have failed to declare the abovementioned money.

The special investigative service requested a court to remand Lyova Sargsyan in custody, which was approved.

Lyova Sargsyan has been declared wanted.

The court approved a bail motion for his children.