Echo of a Dream: Organ Music’s New Chapter in Armenia

Stamboltsyan not only declared his patriotism but also expressed it in action. In 1965, he initiated what is believed to be the first public concert in Yerevan commemorating the Armenian Genocide — a bold gesture at the time. He invited Lusine Zakaryan, a rising young soprano mainly known for her soulful liturgical singing at the Holy Mother of God Church in Echmiadzin. The collaboration turned out to be electric, brave, glorious. and it was the beginning of something powerful.

Each April thereafter, Stamboltsyan dedicated his concerts on international stages to the memory of the Armenian Genocide becoming one of the few Soviet Armenian artists who courageously raised this  historical truth both locally and internationally.

In 1970, Stamboltsyan opened Armenia’s first organ class at the Yerevan State Conservatory and passed on his vision and passion for the organ to his students. Among them, organists Anna Bakunts and Lusine Harutyunyan still remember how he would take them on “tour lessons” through Armenian mountains, teaching them to channel the natural beauty into music. Stamboltsyan’s career combined teaching with a strong commitment to the development of organ art in the country. Stamboltsian’s advocacy led to the installation of pipe organs in the cities of Charentsavan and Kapan. Notably, the organ brought to Kapan was sourced from the historic Mariinsky Theater in St. Petersburg and was installed in the concert hall of Kapan College in 1976.

Stamboltsyan’s greatest dream was the establishment of a systematic and international Organ Festival in Armenia. While occasional festivals had already been held, such as the 1969 one commemorating the Komitas centenary, he envisioned a long-term platform that could transform the social perception of the instrument.

Organ Festival

Symbolically, that dream came true 11 years after his passing. In 2022, the first International Organ Festival named in his honor was held in Armenia. It was organized by the National Centre of Chamber Music which has long been associated with the work of the maestro and now serves as a key hub for Armenian organists. Two years later the second festival was held and together they sparked a cultural wave. The two festivals featured performances by local organists and ten renowned organists from Italy, Russia, Germany, France, and the Netherlands, including Eugenio Maria Fagiani, Peter Kleinert, and Konstantin Volostnov. Notably, several artists also performed in Gyumri, Charentsavan, and Kapan, further extending the festival’s reach beyond Yerevan.

The opening concert of the first festival featured remarks from several of Stamboltsyan’s fellow visionaries. Archbishop Nathan Hovhannisyan reflected: “When we spoke of the organ, we thought of Vahagn, and vice versa. Stamboltsyan became such a noble figure that his name became a common noun associated with organ”. Ethnographer Gagik Ginosyan added: “Stamboltsyan gave the organ an Armenian passport.”

The 2022 Kapan concert held a special significance. It took place shortly after the Armenian-Azerbaijani war, when the city had just come under heavy shelling. At that moment, the sound of the organ became a voice of resistance and relief. The image of the gunshot-damaged organ, sounding like a prayer, served as a powerful reaffirmation of Stamboltsyan’s long-held belief that organ music has immense healing power, especially in times of national crisis.

The second festival, which took place in 2024, was also marked by the restoration of the organ at the National Centre of Chamber Music; one of the most unique organs in the region built in 1979 with the support of Catholicos Vazgen I, the Gulbenkian Foundation, and Stamboltsyan himself.

The Dutch-built famous Flentrop organ fell into disrepair in the 1990s caused by heating problems. Armenia does not have organ craftsmen, and although it was partially restored in 2007, a major maintenance project was needed to restore the organ’s sound. The head of Flentrop maintenance service Marinus Koole traveled to Armenia to inspect a complete restoration plan, as a result all 1,116 pipes had been thoroughly cleaned and inspected. During a concert by Dutch organist Jochem Schurman on October 24, following Dutch tradition, Koole returned the organ keys to the festival’s artistic director, Armen Sukiasyan; a beautiful symbolic gesture that signifies new life to both the organ and the future of the instrument in this hall.

After that concert, organist Schurman expressed his surprise about the enthusiasm of the young and energetic audience. He noted that “in many parts of Europe it is becoming increasingly rare to see young people attending classical organ concerts. But here in Armenia, it is amazing to see so many young faces deeply committed to this music. It gives hope for the future of the organ.”

Currently, there are about two dozen professional organists in Armenia. Remarkably, all of these organists are students of Vahagn Stamboltsyan who carry forward his vision and unwavering belief in the spiritual and expressive power of the organ.

These musicians also tackle the challenge of modernizing organ as a dynamic and versatile instrument for the 21st century audience. Through their concerts, they explore a wide spectrum of repertoire ranging from classical organ music to Armenian spiritual works and even modern compositions. Recent highlights at National Centre of Chamber Music are Organ-Jazz concerts featuring modal jazz standards and the premiere of Organ Tales – A Magical Journey into the World of the Organ on June 17 this year, a special interactive children’s organ concert designed to engage young audiences.

Future Musicians

Despite this cultural revival, however, challenges remain in the Armenian organ scene. Yerevan’s largest organ, located in the Aram Khachaturian Concert Hall, is no longer in use,  limiting the ability to host large-scale organ concerts. Moreover, with only one organist student at the Yerevan State Conservatory, there is an urgent need to train future professionals.

In a significant step forward, the National Centre of Chamber Music recently created official positions for organists. This long-awaited recognition not only honors musicians who have performed out of passion for decades, but also signals to youth that there is now a real and sustainable path forward in the profession.

The festival is expected to continue to grow in size and significance, becoming a key platform for cultural exchange between local, international, and diaspora musicians. Scheduled for this fall, it will feature renowned organists such as Vincent Dubois, principal organist of Notre-Dame de Paris; Jonathan Scott, celebrated British soloist with major orchestras; and Adriaan Hoek, organist of the city of Rotterdam.

The vision to which Stamboltsyan dedicated his life is finally taking root. Organ music has found a new resonance in Armenia, especially among the younger generation. What was once a rare – young faces in the audience – has now become a defining feature of the festival. As Vahagn Stamboltsyan said, “The oldest musical instrument in the world is the youngest in Armenia.” And perhaps its sound is just beginning to be heard. Though Stamboltsyan didn’t live to see its fulfillment, his vision endures. Each note now carries his legacy: a reminder that what begins as a dream can resonate through generations.

(Nare Sukiasyan holds a BA in Choreography from the Yerevan State Institute of Theatre and Cinematography and an MA in Political Science and International Relations from the American University of Armenia, having focused her capstone research on Armenian Cultural Diplomacy A former ballerina with the Armenian National Opera and Ballet Theatre, she remains deeply interested in cultural and artistic initiatives. She currently serves as MSP Sales Growth Manager at the cybersecurity company EasyDMARC.)