Komitas Vartabed Takes Centerstage at the Western Diocese

He read from the writings of famed poets Yeghishe Charentz and Barouyr Sevag, who reference Komitas in their works as a creator and compare him to Mesrob Mashdots because one was a prophet for the Armenian language, and the other for Armenian music.

“Komitas returned to us the Armenian songs,” he said. “He brought these unique words and melodies back to the ears of Armenians.”

As a spiritual leader, he showed the Armenians how to serve the church, and as a music teacher, he taught his students how to find their inner selves and how to discover their own identities, “understanding the souls of his students and reaching them on a soulful level.”

Following lunch, the program continued with a discussion titled, “Revealing Komitas Vartabed’s Character From His Personal Letters,” led by Hayk Madoyan, ecumenical officer of the Western Diocese.

While Komitas wrote often to those close to him, from poet Hovhannes Toumanyan to singer Margarit Babayan, only 184 of his letters have been preserved. Through his personal writings, however, Madoyan concluded that “Komitas was an ordinary man like us who faced his share of challenges.”

The content of the preserved letters reveal 10 different characters of Komitas, according to Madoyan, including an eagerness to learn, work ethic, glimpses of research, kindheartedness, self-expression in art, internal and external struggles, issues with nervousness, cheerfulness, patriotism and love for church, conviction and vision. Madoyan read selections from the letters aloud, which brought to life Komitas’s persona, such as showing glimpses of his research when  recounting to Babayan his experience visiting Mount Ararat to collect Kurdish melodies.

“It’s important we go to the source and take the time to read the personal letters of Komitas in order to better understand him,” said Madoyan.

During his segment, Derderian elaborated on the Divine Liturgy of Komitas Vartabed and the Komitasian Badarak, which is “more pure, more cleansed and more to the roots.”

“The Komitasian Badarak has been considered the miracle of all Badaraks,” said Derderian. “What captures my attention when I hear, listen and sing this Badarak is the success and talent of Komitas in being able to harmonize the words and the music that has been harmoniously intermingled and cannot be separated.”

Derderian elaborated on how the meaning of the words embody the hymns, from Der Voghormia to Soorp Soorp and how the “level of his endearing and wondrous creation has captivated, inspired and moved a people in search of its identity.”

Citing past research from the late Patriarch Torkom Manoogian, Derderian said the former Patriarch of Jerusalem coined the term, “Vehapar of the Armenian Song” when referring to Komitas. He also noted that to “truly capture and encapsulate the essence of genius of Komitas Vartabed,” a series of extensive lectures and seminars would need to be studied on an academic level due to the breadth of his accomplishments.

“Komitas embraced the sacredness, sanctity and mystery of the Divine Liturgy,” said Derderian. “He was moved by the humility of our Lord and Savior Jesus Christ and served his Divine Liturgy to the faithful so that through his sacrament the faithful may embrace God’s presence in their lives.”

The final presentation of the conference, “The Genius of Armenian Music,” led by Prof. Vatche Mankerian, focused on the musical gifts of Komitas.

Although more than half of the 4,000 songs Komitas collected, wrote and transcribed were lost, Mankerian emphasized the pieces that survived, including Hov Arek Sarer (Come, Breeze), which depicts the Armenian villager. He played this song for audience members, which was recorded and sung by Komitas himself in Paris in 1912. As his captivating voice filled the room, the past fused with the present, particularly when Mankerian played Antuni (Homeless), sung by Armenag Shahmuradian, an opera student of Komitas Vartabed.

“To this day this song is close to our heart and a relevant song unfortunately,” said Mankerian, while elaborating on the many genres of music and themes that the music of Komitas encompasses, from happiness to sadness, to daily life work to weddings.

“People sang these songs for all different occasions,” he said, noting the German discipline Komitas adopted while a student at Frederick William University in Berlin at the turn of the 20th century. “The genius of Komitas is that he realized these songs of the countryside had value.”

To express the impact that Komitas continues to have in the Diaspora in the 21st century, not only among Armenians but around the world, Mankerian concluded by playing compositions by the Hover Chamber Choir performed during a concert at Carnegie Hall in New York on the occasion of the 100th anniversary of the Armenian Genocide.

“Musicians who are aware of their identities can continue this work in a more modern approach,” he said.

In his closing address, Derderian reflected on the profound conference, remarking that “Komitas Vartabed is a giant in our Armenian Church.”

The program culminated in a special concert dedicated to Komitas Vartabed’s 150th Anniversary that took place at Kalaydjian Hall and featured folk songs for string quartet by Komitas Vartabed, performed by the Aslamazian String Quartet, Armenian Chamber Orchestra and directed by Armen Der Gevorkian; Komitas Piano Suites, arranged and performed by Prof. Vatche Mankerian; and the Komitas Chorales performed by the St. Leon Shnorhali Choir, led by musical director Alenoush Yeghnazar and piano accompaniment by Gegam Achtchian.

“The concert was a great success and covered different genres,” said Yeghnazar. “The guests were impressed with the music and the family-oriented atmosphere and they said the selections left them wanting to hear more.”

The conference and subsequent concert humanized Komitas Vartabed and enlivened him not only as a cultural icon but as a dedicated servant of the Armenian Church. Through the discussions about his life and works as well as his music, guests gained a much more thorough understanding of Komitas, his mindset and his innumerable contributions to the Armenian religion, faith and culture.

The participation of the youth in this wide-scale event was a testament to the everlasting presence of Komitas Vartabed in today’s world. Aside from helping with logistics, the younger generation, many of whom are members of the ACYOA of the St. Leon Cathedral, participated in the conferences and were on hand to assist in any capacity.

“The youth executed their responsibilities very conscientiously and I was very proud of the way they handled everything,” said Fr. Vazken Movsesian, who noted that the first Reclaim in 2017 targeted the youth of the church, which remains a priority of the Western Diocese.

“The Reclaim Komitas Conference teaches us about one of our church’s greatest known clergyman and one of the greatest Armenian musicians whose music touches our souls,” said youth member Deacon Gevork Takmizyan. “Komitas Vartabed is the reason why I continue my service on the church altar and he plays a big role in my life as a musician, whose music will continue to live within me.”