 Koharik Gazarossian fut une compositrice atypique tant dans son parcours que dans son œuvre, et il est tout à fait légitime que celle-ci soit enfin redécouverte. Née en 1907 à Constantinople ses compositions sont profondément imprégnées par l’Arménie (où elle ne se rendra jamais). Si les musiciens arméniens sous tutelle soviétique font leurs classes au Conservatoire de Moscou, Koharik Gazarossian choisira le Conservatoire de Paris et travaillera avec Paul Dukas, Jean Roger-Ducasse et Lazare Lévy. Si son langage n’est pas moderniste, elle marie avec bonheur les harmonies de l’Est et de l’Ouest. Ses vingt-quatre études enregistrées ici en sont la preuve et montrent l’originalité de son style qui associe aux multiples influences occidentales (Chopin, Liszt, Debussy, Satie, Prokofiev, Stravinski…), les musiques populaires arméniennes. Pianiste virtuose, Goharik Gazarossian organise ses Etudes par une progression chromatique dans tous les tons comme le firent Chopin et Liszt ; cependant le caractère didactique semble moins primordial chez Gazarossian que chez ses ainés. Naré Karoyan sert ces œuvres avec conviction et compétence (dix études sont des premières au disque) et montre l’originalité de cette musicienne à réhabiliter impérativement. (Jean-Noël Regnier) The first complete recording of scintillating piano studies by an Armenian pupil of Dukas. Though she gave piano recitals throughout Europe during her career, the name of Koharik Gazarossian has largely been forgotten today. Born to Armenian parents in 1907, she grew up in Constantinople (modern Istanbul) and studied piano there with a Hungarian pupil of Liszt. Not yet 20, she was admitted to the Paris Conservatoire, where her teachers were Paul Dukas (composition) and Lazare Lévy (piano). Gazarossian proceeded to make a name and a career for herself as a pianist touring 24 ‘well-tempered’ recitals, arranged by tonality after the model of Bach’s keyboard manuals. But she also composed throughout this time, especially for her own instrument, in a tonal language influenced by her teachers and by Armenian folk melodies and harmonies. Many of these pieces have yet to be rediscovered, but this album of the 24 Etudes presents the most compelling case for her revival. Gazarossian completed the Etudes in 1958, and they attracted the praise in particular of Armenia’s most renowned composer, Aram Khachaturian, who maintained that her reputation would have been much higher had she gone back to her native land rather than to Paris – though in fact she never did so, and she continued to live in Istanbul. Not only the pre-eminent exemplar of Chopin can be heard in the technique of the Etudes, but also the sound of Scriabin (No.1), RachmaninoFF (No.3) and Prokofiev (No.10). Each of the Etudes is dedicated to a different friend, and the set thus testifies to a wide social circle of accomplished musicians from across Europe and Asia. Several of them are dedicated to the best of her pupils back in Istanbul, others to fellow female pianists such as Magdi Rufer and Idil Biret. It is all the more appropriate that they should be revived here by Nare Karoyan, who grew up in Yerevan, capital of Armenia, before studying in Cologne with Pierre-Laurent Aimard, among other distinguished teachers. Now based in Germany, she gives regular recitals in Berlin, Bonn and other major destinations.
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