Armenian Music

Hay erazhshtutʻiwn / Grigor Siwni ; [English translation by Dickran
and Anahit Toumajan].

Syuni, Grigor, 1876-1939.
Erewan : Grakanutʻean ew aruesti tʻangarani hratarakchʻutʻiwn, 2005.
http://hdl.handle.net/2027/mdp.39015070111516
Generated on 2015-02-24 06:04 GMT / http://hdl.handle.net/2027/mdp.39015070111516
Open Access
http://www.hathitrust.org/access_use#oa
This work is protected by copyright law (which includes

certain exceptions to the rights of the copyright holder
that users may make, such as fair use where applicable
under U.S. law). It is made available from HathiTrust
with explicit permission of the copyright holder. Permission
must be requested from the rights holder for any subsequent
use.
Open Access / http://www.hathitrust.org/access_use#oa
ML
ML
334
334
2005
2005
.S861
.S861
GRAD
GRAD
xr
yo lee
jBRARtF'S
a.
,-
GRIGOR SUNI
Yerevan 2005
ARMENIAN MUSIC
Museum of Literature and Art

MUSEUM OF LITERATURE AND ART
%VpuLuihrt1J bth unPfhtbUSb r-ucXcbuPuA
L.ti,
G i-oy
nqo rnC 1rc
/ay ea h % AZ-I
4.ptuuQntr1iwG ti wpndiuuifi rautuptu
fipuanwpuAfntihnQ
bpliturG 200
<8%3 78 (479.25)
%VUq 85.31 (2<)
U 558
4puwunwpwllntrawG u~wuiptnilg WwuP/i " Wtr"120.ftiP
Prepared for Publication by Marine Mousheghyan
V Editor: Henrik Bakhchinyan
English translation by Dickran and Anahit Tournajan.
~I Translator of preface and editor of English text: Artsvi Bakhchinyan.
ql~ppjfituuipsulinipa iin fingtudiuanptq hG q~.pbiqnp Ubidlh pannp'
ujpnjdsunp fH'lUhL% U1rI"IlI4b
1 1 WD' qw~ud lUwfiwtpntfir UPwTO~ U V r u'r lw UUuh'Q
«cUhth tlptud~nulpu 1tfiujudtuG 17puqjbp*
nZ 2wfinttutphp fiuauunuinntj1iua xibngn{j
The publication of this book was sponsored by Grigor Suni's grandson,
Prof. RONALD SLNY
and his wife, pianist ARMENA MARDEROSIAN,
through the "Suni Project: Music Preservation" non-profit corporation.
Uh~ti q9i.flp~
U 558 4tu~l tspw.d2wnn1ra1t / 9.phinp Uhnti~ - bp., %W- 2005, 140 t2:
4wutnnpG pt~rqp1 ntt 1: fiwi rpwuwluOG hpiud2um1tralwG iuailuwh Ghpl w-
IswgntghZQhphg dfhlah' %lpjinp Ulnt~nt «4wui 1apwtnuntalntG ntunidGtuuh-
pntranttip It hpqwfitu~li htiptiw14iuiqpntiant~p, npn0p rniiu laG itiuGnul
wniwuhQ wuGqaui: 2,uimnpnulf qthtjwb tit lrn ptiwqptph w.GqgiptsG
rpwp qdtGn tramtG G hip :
In addition to his autobiography, this volume includes the research study
"Armenian Music" by Grigor Suni, a well-known figure of classical Armenian
music. Both are being published for the first time. The volume also includes
English translations of those works.
S4905000000 2005 q-Uq' 85.31 (2<)
U 841(01) - 2005
ISBN 99930-60-59-3©qtia.00
2005
4'ptat uinitpulwU uipt4liuili tGquipwanu5 QG~ .u.~w4tjg
tlhirti n~fi 1iptdwd~utG 4 Q n Gr}.~hp u di Gp: lJiumi u iwfi-
ugtu~ijnuX hQ firm liptudjiihtph in thpwd~tnuiuit pli 2nip
170 wQ~itimwutG wpluittlip in f wuptubnnihp, npnQ~ ~rL
qplpinXtiQ 130 000 inuIa (altnuqptip, uiqrliuqplxp, bptuqptip,
GttuqtutGG1ip, ~ptup4iuunii npbr1ip Ii tuiff): U~uit 1q
fiuitipdhnphQ fituiqp4wuilq S. 2ntuuui1wGji, tlnuljtnnwui, 1U'.
U~inn h 4firmi hptd2UnnlaltuQ ilifltu lUf2flP Qhpuittgntgbi li-
pi uipjui4flhipp: 'Iptug finTuiG ijpwu cp4.1 4 tiqpi~fiml hQit-
GtqpintrinQlip, uihktuijununtaniGGthp. qgnrntpiiQ finltuib-
mntupup Qntlp dnnttntihp: luugtiu opb Gwl1, iji1Iui1Awp~unuI
juiGqlupu~nu1 utufiu uIQ4nq tuplitiuiG Ginrlpbi fijittuQ
itpwn 6ptuntuptutiliUtifipw upudjnur hiQ i11zbQ'1nfimtuuji
hpl bipt wrtailituQu fiuuinp Glipp: UuliGp Guilt, rip ltipPQ
mnui lpi G r U uGtupui ~fiptui uptuIlnlrantp p Uraip gnrjji
uh rpuUi phig GQuilt 1Jniiui u 4uqinil uialutipmlip U~p-
pjiU in utu wqnpbntraup it 1p11tuih lntiapidnlntjunt-
Uip, PUudiuGQuilt fiuti uiQ4tui bp tufituG blilinl t upu~ilip-
iui~fi uui qgtunpbntjainUU~i pt ~ugtiwnnplup:
U,1ld1 uilupGralipgnrq fiui~pntraiuU lip Ulip~wutug~nt
qnip lJ'jipquu i Ujnt w 2uijlipu d2umntr1inUG. uni uui2luui-
uin1la1n1Up: 4tul puiqaluiluipiQ hpuid2um taluG fluitunnmn
ujuiuiuni~ntGp GUlituug~nq tuiu uipdliptuinp rilunulStuui-
pnqrant~p fitpiuip lip qtq lGlipl.tuijuig~l Quilt w~ql1iphQ
aupqituiGntituilp, filui uipi4uuiji uitrqfitupniui p~uiuiw4ui
i~u ujiU npnaul~h tiin1 iptugnuXuun ltuip GQuilt ouiui-
ptuiqqr pUraipgngjiQ:
U,2juunta1n1.Qp fipu nupuintlluG t -wnptuumi{1il
npn2 judpwq~puAtu dTh2tunniiatudpr, pwQtb np RtrffituGw
rG -4iGj tqiutnfi&un~tipn4 tuiQ F hQIRU up1il 4tiptGw1uG 11w
ilu: Shipuuip btuGnawqpghl t, 1.tuuiwpitthl hG npn2 nulrlwu-
qpu1u rn 4inuilpuijuiG f2qptnnu5sGtp, UIQQ2iu 4p6tnnu5-
Qtip, qpt ti t tstuuGwqudntttuG wntu tupwQG:
uJ2unnIlau~n fititnul tZ %Ipfqnp Upn~ni. btlp~wiG-
utuqpn tl~n tGp, n p Q1hp 4 uitug Gn uI t ip tulut uin p 4n ui n q b-
uinpli 4t hpud~tnuqliini 41tuQ nt qnpbrntQtinilalw fiwtui-
qpl- fipuinuwudnilatuQp ilibujhu Qugtuutnil iG q cp1-
qnp Ulntrnt lnnp' typnltiunp fHl'rqui UlnfitbGi 4 Gpwu tilip'
r~u2Q1.uufiupndfiP U~pditw ltuprjipnutu~n, npnGg ti fiwul-
Gnix hiGp tlhp IunpPQ 2Gpiutlnlltp U tip hiptu~utnwqb-
unnlralndG tiGp fwtuinuJtt Qiuh pnlnp Gptug, nttjtip tuqu 4tf
w1QL tutin4 rphig ihuu~wL~gntlantQG hQ 1aiptil tutu wupdtipui-
4n p t2uwmtunn.t1wG fi pwtr uwp u4 u4 t hG4 ot mutoqpwtutoG tU2 -
NuiumuG~p~ hU:
ON BEHALF OF THE MUSEUM
In the Museum of Literature and the Arts of Yerevan, the
music archives hold a significant place. Here are kept some 170
personal archives and collections of Armenian musicians and
musicologists, totaling 130,000 materials (manuscripts, advertise-
ments, programs, instruments, works of fine art, etc.). Here the
archives of Tchouhadjyan, Komitas, Yekmalyan, Spendiaryan, R.
Melikyan, Grigor Suni (pronounces Siounee) and other great fig-
ures in Armenian music have found a permanent resting place.
Based on these archives, monographs, speeches, Wand scholarly
articles have and are being written, and variegated collections of
the works of Armenian musicians are being prepared. For
instance, the academic volumes of the works of the great Komitas
have and are being published largely on the basis of archival
materials kept in the Museum. Let us add also that in the last sev-
eral years the Museum's publishing house has made available to
readers collections of materials on the lives and careers of
Komitas' prize students, Armenak Shahmouradyan and Vahan
Ter-Arakelyan, as well as two volumes containing the songs of the
famous Armenian composer, Nikol Galanteryan, a project which
will be continued in the near future.
Now in this modest volume we present to our reading public
another famous figure in Armenian music, Grigor Mirzaian Suni's
Armenian Music, an unpublished work. This valuable study, rep-
resenting a brief sketch of centuries-old Armenian music, we have
found suitable to publish in English translation as well, in order to
give non-Armenian readers a certain understanding into that rich
world of Armenian music.
The book has been prepared for publication with some editor-
ial intrusion. Since the author, for unknown reasons, did not sub-
ject it to a final proofreading. The text has been notated, certain

orthographic and punctuation corrections and some minor
abridgements have been made, and a scholarly introduction has
been added. Grigor Suni's extensive autobiography has been
included as an addendum to the book. A copy of the original auto-
biography was given to the composer's family by Mr. Ferdinand
Kaimakamian.
The publication of the book was mainly sponsored by Grigor
Suni's grandson, Prof. Ronald Suny and his wife, pianist Armena
Marderosian, to whom we express our deepest gratitude. Our grat- U'
itude extends also to all those who, in this or that manner, partic- T
ipated in the publication and printing of this valuable work. 21
It,
41
fa
11
41
gI
uf"R vgu1 ,
XIX ruiph utlqjpig itlbG puwGhpnpr. fiuplntptuatjlt
uljbiqpi pG1tui diuiltuQ wwfiuttnqup fitui wupilhuuib tqtuin-
dntalkGdh Q~tuituwnptthg npugliu pti~nt~iG rtU1PW21pp-
2wQG, tippi tuggqqw G 12~w1ntlp1, fiwitn~tqliu ugpn Aiurn Gaq
thptd~inntralniG thp1wptuuih, fiwuplpurp lnniralniQ~g fibium
tuuutuptiq phiphg uu wqtunpbntrwQu, 4tunupnrlt4tuGw tup-
ijlutnhi, pGQtuqrtuumnrltuG, hpwd21mtuq11unntluG pGtuquitiur-
Gu~p, thnpwriiu, 4. U ptiftuA, q. U Qr11wptuflj, k zwm
fltpl2Qhp rwutpawQ tuluop{gu fitut pn~Aiuin~tul hptud2ultu-
gtu4 ?ipf2tul~1 nixrjin4:
U11u 'Jb2wuP-nfl lip nwiiliQ uihrlG niQh Giub. 41prqnp Ulbp-
cttuG UlniQFQ: MiQttel t 1876 pat41uwG hiptud2tntUliui 6ili
tuwinlah ndignrl wU2niL~tipP p~QnuwQpnt: bp~nt tnu-i
pUtitQ lp, lipp %tu(Rtulli %tuAp-4 l qnurlig bi~nqlhpr fihi
UitlrtiuinFutt t: t2: bptuud2u11.ului tunwfl iG tttipnt-
la11u~thppl liugtuu6 hQG finp' 4nigfwQGtiu 4wuptu~qi.hgni. Ratn, ni-
p p fhituli 1r p n p tqliu Qtu utn hlj4 i hp qr : 1883 jaquil tuQGbQ
ntnuir1 iptudl2unt1wQ ntuntgb qwpkqrp tufitw.tu 24ngfluQ-
GbutuGp t2tLuhliP 4 finqwtuinp flh wpnlutIp ungnpnut t
fhiuluiQ QnmwqupntrantGp 4 bp hptud2tnuiutuG ntu1]nt-
1alnU1Qtipp rlQntur triu~tuqpuntutuG fhntli d512: 1891 irPattu-
m ld1npq1tQ Gtilupu: OltutuGnrtulptuQ tnuwpF hpt 2tu"n tup-

riintdgitn l~iG tqwunQoi htptuJ2ulP fiwiliup: luunil, plugr
U'Wp2 hipwd2w1uiILuG ujuipttithfp~tiplig UlntrGf, hipbuiw-
uwprl t]nlJrlumuuP ii, u1luniTt t1 qpturlt4hi dnrgntprtlui lGip-
qhipr a wjCQuiqpni}alut~p, riunttXGwuupmlurtp I~t inpahip tl w- t
Gnui5 rlpw~p ptuqiiuiuithir: ctitTtuptuUQ wgwptnilntg fitann c
wtajuqu 1.niupiqjiunpp 4htpWrgturGnu5 t 6wltiGb Ontr21 rip- u
t iri 1895 TatawtjuiGQuto l QiiTuiIpiuI r ra L~un p n Gn t~iww Gn i p
t Gptu tuGrlpwQ~l4 fiwtthpqp, nrj 6pwqgrp winr12mqawrp
t4tuqrt4iu& lzp bp 14tuuiwuptu t2tul1uidQhprg: ' )ntfG rag4utnGbi a
hiptud~ultu4tu g PtnutgilrpuipjnwgtltI t utntuphtuwnpbr-
4hA-nt Qrtntun4 UlmribQ t~t4Qntu t1 ghihppnrpq.: bphp tnw-
pr unllgnpnid t; fl w~tqin~i, UIUgLU' '4nl~ hpind2uinnt~arii U
rjiqpng tipniul. 1898 Tagw tuQPG itu~nrntatut~p plntntT la
1]nGuipgtutnnprtw' rlwtn~ntitn tuituGtuijnp rnu ljnrtqnqjunnp (a
lt. flibiiulpi-Lnpuwun4g tu2tuAtipXII: S
qthiuihppntpqltwG 2pWQFQr Uit tuu-i4 uGnuT 4. UlnrGnt 4JU1i p,
tnt r4.uprr) (1J4. f'uufixffjpnQr lunurplipn4t) 4Qt Gi d' juqr~p~ o a
(24ntfi. @'nttutuQPw~ lunupthpn4) 4 Lull iltihpqhp nt dnrputtpp- R
rl w tipqhipr 12tu1nulGhip, npn Gp dtihr wutgu~qu tlbG junutntu- h1l
Gttl ljntliqnqginnpbQ: pI
9. Upmtutn h ibtunri~t tf1u WiGLU-igntG 2p2uAGp ljtu- Im
phji tZ fitutitwphi fibuntil wtqpiu6 umuptipp: 1904 jaqw- lu
l1tuQrQ mtituihppnprpq n lpiutipijtuuinpbwU iniwpunilnrg fihuin p1
Gtu fiuintutngnu5 t f ifliunuT, 1905-1908 T}tt4w]nGhptir ti
ugtutunutuIwPniS t1 bhtpupuiuGt q~tqpngnttT npugiu iptud2tnnr- rn
jaluiQ ntunrgb , rittGtinlt dwltwGwl] rlt~tutttwpnidT tz tIxpngr iji
hipqgigr junurpp' 2wupflGwtilnqt fp Qtu~npriii' U'. b~tiiluab at
qnpbip: Ftwgr tujrl., lpqwt~u4tnu1 t1 tpq~wudi~p, tlwutudi- pi
gnatl fiwinilhpqtipj, 1jtnwpnuil dnqingprptfftuGtihpqhipr dT2tu- n?
4nuT~lhp, qpnid tiptud~nr~puQ Tawtntiptu]tuG tipltpnngntt5-
Ghipr fltuiiinp, npn~grg llhlllp' «4ptiqGtuqufpo, putn ft. Uqrp- ul
lwuQb fithpbuiar, fithnuutnt tithptubt4nid t ougiptuibt umtiri- G
b wqnpbmnrauU: 4
1904 Tatttu~pn~bQ 'lthrnhppntpcpiul uiugw~pnn t1 Qpui 4U i tir
tul 4wuptr> lhtipqp, tuintfihu4i Zuii dnrlntprltulltiQ hpqhp>> fir
dnrntutG, nptnhrl p~rqgp1 g4u ltiG UIMCtin ,npu ll2wulli- hir
Pp «UuptipD finridGjiti hn~bil, KtupppuA*, xUuipthG lpn

artujnp)' luturip tipq~tujuipr fitunhup, qitw2Gw1.~ntp11 GQwuiu4- at1
I0
gftlhtfpLB 4i 4(01 GQugctwQ tipcgp' Tgtu2Guwlfntpw1PG tjtuuiwptrua
riwxlixtp:
U'lYuihpud~tn~nal tpm np qptuttjkl Li UlntinQG: LLtrL
qwtuGtnllnt~rnt~g Lhu nuptpil t: p-wGnpwiG 2tupd1IwG
grltutb wp Qhpn4q, w1Q n i hui 4Qhp qp t44thj wqqwulr G-tut-
wnuicgiplQ 2Wupd1JWQ ill2, utgl t rpu2GtuilgntralG 2wuppti-
pp 4i ulr} tuqrthgntraltuQ uiuA4 utnirl~4h nt hipq~wtujf fitutltup
11tW~jhl t: ptstiiq~jt fiuphiuiubptuud ihpqp, npn Gp fituitn-
Gbl tbG nptqliu tunr %twlnt finprU~tubpGtp 4 tftib nqhnpnt-
palwitp 1]wulwplnurf tbGQ rjrlultu~jwf 2P2wtpr1tl:
flpuLqiu pI2Qfiu~tnultu wtnuiq ptutptltuG qnpr 4~.
UlnffiPG rltwinu5tt t tguGtwlr tuGA gupultw P21utu~nt-
jalntGQthpr fituilup 41 1908 raqtadlwGPQ G utguttwb filrnw~ntt5 t
fd'Ii~trurg: bij ulliuint 1: Gptu l1uGpP nrlr4iultuGp. Qwulu'
8puugqnG, tuintfitiuih' UuiifuntG, tirptuunG, L'pqpnul ti uill
pturlupGhp: Ptulg rligqpnutfGhpr uutupuihpG rqntp iG tu~g-
anurf: UlntGrG fittupnu5., atwGupnuf It tr2tnulf t1: gtw
tabq dlnrtngprltuwG hpctip, tuqtlwtptqnttf hpq~tuuptipp
lntpla~iip n(ifiinuTt: 19 10-14 ijuiu~tpD G UlIW2~Lnn Qtu4tui-
tInt tpqpnutr Ututuutupiaffi 4jwpdtuptu~inu5 npujliu tipuidP--
uinqrluG ntungb ' GntlQru~llwpnrtu nul t umntirl41q Qitwqtu-
1unatfp: 1914-DQ lltjnnnupp itlipturlturnGnu5f t fd'rfliu 4 Il-
rthQ Th~nr'2 nqh2Gntunqt Ghipqptwugnt 2.utuluiG htptd2-
tnu4LUGtw iiQlpnrawQu tu21utnwQJ pu1ip ith2, qpnalf, pthulw-
rlpnut 1 otqhphiuubG Gthpltututgnu1Qhip, tilni umupr rltitu-
4tupntul t: (d'i~iur i nwptuQr u t4nmllti Qtjwqwlunutspp IL
atinril mnulj nl~thGtulnii tulrjxqgiur Qtjtuntilp' wupwq qnp~b-
1 uignpnttI 4 fiQ~thg~int t: <<-tutu 1uplgiq~po, 4J~pttijpo dn-
rinptulituG hpqlipli atiiu~tpnq b-p uriJ~n~iil lltmnu4Gthpp:
1918 rNWtuiWQPG w~ttiujunt1a1ntG fintuttigr G tulurdinigw-
ultuG fiu~ptuttnnqralniG~tpp: U. pwuhpunruIltw~ It q.. Urnt-
QPQ fip uuntpbi fipwugtip tiG umnwGnitt fitulltwlWQ Gnpuutlirl&
tiuntutwpnrajwQ 4nrpi~bg, nputiuqb 4tucglftu~hpqhQt bpk~u-
Gnuif tuiqtulrQ thptud~tuuung puihnt qnp~Y: Ftulg UlnitlGG
flPdiptpntJ 1 It4 1919 ragt4u 6b ntiQ GI~nix (i'hfipui' npiqhiu
hpuud2unirwQu ntuing} : IJ'hpdnuThfb WGtuliu ututntunp
tinluincdiuifpri lNnpirt buuratunintran.GGQ ltu ntal

Gbg, Gptu tuppugbbJg: gltupulltuuuiinuT~u tutqgpt liplin. tinw-
11
pIAtpP pGQatuigpnu1f UlntihQ Qtu4 qpwrutl tZ biptuGuilwG
thpud2nirlwG ntunulfiurptitwip: 1921 rattu w~uiQG tunnrp-Ta
?ftlntflQ1 4hpl-u4 wGIAhlnt GugtuinuI~n4 ilTh1 Gnut 1 I 'fnlu' Riwl- 21
phQrp 4IipurlxurGiutu j14uIwtpn4: Puwlg, ftuiwqwihuG~p p
ihpnttfn4, 1923-b G bip pwcpliu~rluii5 p~uituQfpn4 ittiGnut t 1a
Qnpbig: UIQ, rG lltutnuig1 -. 1-iupui-J'npqwtu igltuntil 1a
2p~thln4. fitultpGitu4 4tulihpnus lt nu p1tubhlnq wqqtwlrQ tipqr lI1
lh2Qhfl toup Gui hqn G hGnp ntG ht Giplwen hiuihudf tu
u-nrntff ni~tiitwlnt q tnugntjalntGf, wuldil umwtpnur tp
Ulni.QhG' hipliG fiupwquit dQulnqt uiutin4 GintrtutG,
pupnlutp n dgwpnqralntG~tpp, QntQhiul~ wnnr 2ti tt gbw -
4ip: Stupptip puirtupGpnu5s l4wcpwt tiptqnt1 t hipquutfphip,
lltuu Gwjgnutl tp gni t Ghi qp ttutul uG to tod n t tu: IIU
4, Ulni~bG ilditplG, rtnG 4lwGp t nihgthl: U'tu~nl1j fit- -
utuljnul, 1lnpgGtip14 finpp, uuinuqititu6 t tlil fin qarnt pntwGh- 2l1
p 1 14tuplrp~tpn nu14tipnpjwtp 4i tunr~p Raniu itnrlngtulG pl
fitutipqGlip uiuilnit' hpp rlthn mwtu~fl Qq mwtpUiuG liup: nn
UJlQnffititnht nqhlnpntrantGGhpG niii tuurautrntjrantGQipp fit-
?npl i hQlp'utp: Utp'nt liu1itu~u 46 unin Ibtkilnt' 1th2wnv
qui~tlh t pwurltuptulpnQ, ujaatntuuQ pptupalntGU1Qpr
fnpatuninult 4 ftw6tuj qnpb1 i 4Qw~tu bip uunin~twqnprnt- p
ialtutQ: f~tualnnu1QhpP tiqununni{ llnpgptt lt bp wu21uu- pe
uiwuGp~kpr51 il tup Ut fiuuu unutijwtu t hrlil tutQ iG Ur nu
uib tu15uiGtwp~npn2 linrtp: Q2itulur uiatntutujjig l w~prQ, thp-4t
jpiiIQ fitu~pwuuLiu fhtuliug~piQ, Gpt tupiuuiQG ntGri intuu-
i np, 'Uht1bun pn~w~grpn1ntG: Uplpr l1tituwG Gntpp, urpw-
fiG fl iptvnnGG t, Gtu~uuuptu dwGpp' twtipp tt PPI
G~i pGnpn2 urinudmtiG IipuGqGhpp ~G tiu op Gtu 'Gn
wuJ'uiihuG Ul~w4*, 4'Gci 1ki luGTIpbp>>, Xsnai-uinl > tt uiG:
'. UlnuGP G 4wlju6uiGihg 1939 irwaqutu GP G blurtili4w- "'t
tnu' tolu utu h 152ngGhp niGhGuuln4 bpr 1ptir p uoiugphitnt:
8tgn t5'nrLu~tuG Nunup tuth Gpui tupgtiutnP tiwuuPG
ridilutp 1, npntfliih hip14hpr tfti& ituuG tuGuipuj t, u4l tuplu-
gjw1rG GlntatpP fipi5Gu1wu ttuup mquitnu tZ llll-nulf, Pp a
fiwpuqumGhpp ithun:
12
F &u1 hpwd2tnnra1ntGN tu2IuWUtnfln~ft~f q.. UlnuQ iQ G I
pawqp 1: UtuL tulG tuiuuihrt Qkipl wtwtutu6 tgtuuntfwftuG il
2tupfl 41tuUU11ipr nt~ tjhhdp iftuG nituunh1ln4' fituipwgnp h-
uq4 tqwp qhl utn hip~f wGudiQ iiun p duil wtu p' 1919-1921
tutoG Ghp : rVdijtup It tuul, ahtup wr}rn p tuQ G qp til t (fdb4p1-
ur 2tul ii Ptdl2lni phnphmhhiGhpb pQ4hpntrajwG qnp~ntihnt-
1a11uQ 2p~wu-t4lQpn' ul, 1fah' uwntiTi64ti t wtlhtltnu5 tquiqpk-
ln Gututjn4l: bp~nm rjiiug nt tl tuG tjwpnrq lp 6affiw~nrgw-
4luik rnuntgrr~wG lwplinp G2WGwu~nflntlG nitliGwl ri
tl1u1l ituiu~tuqgitutuQw, W11h hiPWJ2UluUhiP PtU!Q 2PwQU -
Qhp r fi utuwp :
lJ,21utntlntQr! QGip~tjwtg Gntu t fiaultihpucId2trnwuitw d12w-
1 ntira11 fitwtstu tupqttu& Lqunnn~pf' fihijtuiGnuwujwQ dlu-
i~tuituA4hpbg i1liQ h putu~kpnprj fiWuplntptul11IWLb ul4Ilqpf: Zth-
li~w14Q rnunu1Qwuurpntrintin ptudtuhllzip~nt tluuf: Untu-
2iQ Gqfluntul GQlutupttu& tZ fitu fli unlfi FG 4 Ii 11 tuQrpu-
puG hpwud2tnutuQw 112lZU~lla O ilt XIII Tuuipn Qhpwunltq,
uIlub~p-G ifbG 4t L4hr1wQt raituwnpntrluG tuGQ1nu~p 4l~ tu-
nugiju t fir15Qw1]w~nu1 fitul utwtn1Jwcgrp~tipr fiP2utUwflJ-
' hupq jigqnq4 U lunitgiluirwa iltj airn{ GIhplpnluiggtu6
hQ Qwjluuipbiuinn Gtw1uiQu 4 pp11uunn Ghitu wiuuiw1 ti-
pwdtc2mnutuQ dwptipp, gquupwQ~hpp, npn Gg p quuit-
Gntran.Q fitupwugnpntrantG t uiwfliu ttun4hptugnu5t 1tutiti-
tnl fihG 4lutuuunwQr hpwud2ulnwuL~G 112wuntllar tluur G: Awn-
l~luul u puuptulbQ QgwtupwQi~hpr fHwpntutn luilpP qnlntranffi
puipap qtuptugwiN HGii tgtgrnri W~p wupqwufip tz
4U 44uwinur t 6PQG fiuilwttuG ptugwptuiprantuG ptupalp tuu-
U11rtuQ11 d1tubG: -dLuwulpnqpwtoG 4tupqn4 uttuuU4nud t
:phpiunnQtautuC tQ~uluuuiwQ~i 1iptd2tu~w4tuGQ tw~nuTGhip 1'
GnP 1lpnarp gna~tatu fitim 4tqu GQn dwapip hpkuifi
quurl1, qnlntialnff nditignrl rptqpn g hpr, l1j r1gwtuwG hpqlign-
l~ltn4ltuQ, GntnmuqpntraWQ, lipwd2luultQ 4h~igwrxti 4 Lipuu-
U,2juuunqnuinG w114niui& It 'dF inliupnu: UlniIr G oq.-
PttIq~nbi It iatUpra1ipb 114 It~, 'X1ntu Wutum It ranrlq Q2nulTli-
PPb fi turfhup: UIJinihrt qpd tI T o rnr~inin t pLulu 4 tutI UIGQ
kuWIutuluntr1ndifl, tiqupplpntjalnX4p ji11ptuiplpu dtuuf :
13
Uttpntgqiulnt fituaqtunrnntuuutQG rupw~2p21tu~ni 11 fiuiu f
Utjub 1iptud~tui1wui 4iimnju intGipD, QnpnilrQhtp ituurG p
4u iQ Q2nutFlip: OpbGtul], Ghp1 wtuigQhlipi4t2ulwuuimnu 11
V-VII rltuptipp hipmd~tnrnapuQ iik2 uniif niithgnr wuphnp 6j
1hphntiirQ~pfl' rlpw~p f5itutnli t 24nntlr iqiuuq %'prqnprn G
UJ'1ibb i thltig u1t ip hpqhgn rpn trtu G lpwfin QttupqgtTw G fihmtn:
(tiu~nGtuqptttub tulrn hpqhgnrlntpaniiip utpnuilirp 1; rlwpcilil G
pnlnp 4,wu ndlI thlgr~1gtipr fitup tL fituiuGb t «%1ppqnp- fi
1tuQ tunptulq* wGtttu~dLudlp): UintQpQ qptil t. *P2utnuwu 5 u
Up fii5aub iluiQIlhQ, IJi14pnutiuiQ d, e, f, g IV rjxup fIhuu1 p
%prqnp U'tib 590-604 LuahilwgGnuYs t a, b, c, d cbppqnppuian a
tutnnuit t 4iuG1 g 4i rp lwtuunntpwQ. nt~Qhntu (Gti14 )>
VIII rpp twuuG Q2il t. <Z<rntttp 768-8 14. ']LUplnuU Uh ltr q
intupui6 %prqnphwuGp :
«Xrlup o h Caauthp Gwqji itn oqp til t. o17 iluiliu, (1050 ra. rl
djibu.Itt 1; li4trro lJ~phggotzQ)N: 1-Iiuw1, XII iltupr tkpwd2tnnt- U
pinit~p G1 P4wtwg~hqu fiP2nu" 1, 4pwutu~wLG uniptunip- p
Uhpb G i qhpilwwudpnQ b hg apah p kpflpG: Ul~u Q~nurtfl ilp
tunuiulljw BUG: UlniQbQ itinp~tki t fiul liptudc2ulnipalin t- q
itnllntgbwiG rl11mlil npujliu hiptud~innipjltuG fiwd1-Qrlfiw~nip 0
tqwirnilpnltuG qtupqwgiltuQ puiatgpr iI~i iluup It fitutltutntu- 4t
lp uQ ttWpllibnh1l1utlp intUpwcG2utnxhl fittipiW~ni opb~Qw- tr
utthniralniGGlipp qntn fiul u tpuG, tuqqwur i p~nilra~hpg: a
. pruuinGhiwlpnG fiwil finqttnp 1hptud~1nnipraG IituurG 11
gutinlgntl t V rjxuprig u1Autub 4 l tufijututnuhjn4 phtpgnifl 4
fitupgp VI rptupI11ptud2unniraiuG t~tuaG tg t G2i1, np irt p
fituplniptuittulr p~rauigpnulT, nppwuG fitultnGr tC tpwd2-ntuqll- U
inniralwp, Ui 6w~rljmqntuX fiwil finqhnp ipqtuutugntratuQ lii? a.
n~b liwutrnnhl I1tuini~twgtu Gnp hphntjT&lip: r~tw wuntutttp- d1
uiliu luidhpntipb dtuQ~uflufitutnttub tC tlil, 4 w~rptrn1p~tk-
pp, npnGgrg oquntljq I lir, GnilGtgtiu 2P2w~gnttI tiG tur a
gupfl : 1i
U2ltuwnnipiluia hiplpnprl qlntlufl, tp 4lip~iwqptuib IC 4np I
4i QnpugnlQ rltup*, Ghp1lultuig~ntd IC fitul ugpn~~iurn~tul u
hpiud21nn irl tQ djipu btrnijw 4. upq ugiltnG pQratugpp ' u uu V I w rtp n T u g ' 2t tstGltp n tt1i Ii
hptud2tnnilapuQ uV.UuiiThir1i.UQ tlk? it~LflPf2 hphtntu1aQkpp' Gnp ix
QtnmwqupniralwuG hplauQ qup, Qpw i~lipQG i G2w~tuI ntia1ntp u

14
fituing fituJdhp, ptuwiulQnirawQ ithtnpp fiul~ hiPwJ2mLWG
rptuI untranff, dinupittpriil Gtdpg hpq-G2npn2 WinQu~atfiWu1n-
nlQtGhrrp npiqtiu wqcgtwjr G tqpnihubn Gut~ thpwd2unntluG
fiip ptlntGtqli rtnt agnirplnUip uuhri>1bwqnp~nrl Mpwu ~~-
Gihpnut:
Uliu dwu QuJtufuuttn4w~b thpwd2tucwGtfQl2w1ntp Ujnt-
GuG Gtip1ltwlwg~ntu1 t nPLOU u f2NWPfi1l hiPWd2tnniLP1tG I
pwudwunurl Lptip rptui' nwldJtuwaG tputs dnqnqpqlw4wa (mil-
uliGpQ q t21l ulpnuG), nptqliu uuinpr G Tpuu, wznl uwujwt (t itum
rG~tqhu utidiXf n~iinfftuiw tZ wQ~wGtl dnrgngpwtgpn~thurn-
GLw1), nptqhiu tm5~1W iwu 4 uuqjntawl wu (wtuuGpG ugpn~thun-
Gtul hiptd2Unntflhltfl tuluopmju pG~lsutwmp), npajliu ptuIpapu-
4tiydi~wlip pmu w UI~tutQLW ntunii5Gufiptil t LI24w6 kiphp
rliwukph tunwGaGtufiuvnnltn lniilQipp: %'bhnpq~luG 6tluhupu-
LinuX ntuu~itilnt untupii~lipli, -IntnimuliQ pGtpwl ghitnt, G1w
Iunptughil t qti12tul uG tipcdi t nl*6-lG 2WPWI1pp-
11uAG, aluitw2wupwiP G wl WtuW 2nlratPW11 G (thminpnlafb)
qup qugiluG op~w tunrl ir ntunalGwuurpiiuG tak?:
Opuiliu u12nutulwtuQ pntinwQpb qtuwq tftudl ng 2'1t1t i up-
4tiutnb url tntiuwlfb fitutn' t nttnwitn4 mnpn~wtjj iqiLp 4t qfn-
t~tiltip: Li'wl~wtuupr ptipnuhlnj tuuiptln4 qlupul nutntu-
LinuX' ip~npliG qpturt4ht t fpwGtul wQi thpd21mnwdp nt
lluugpl Jip c xhtilP-liph U.IUI2wP12 u2nlw pntui tip qr p~tiwqw-
4U111J mhptiprua: lip lwmupb tqtimnippntpqlwG rUp tnwpti-
pp Gmgbpl t himpnu wl tu rn nrnuulpnG hpwud2mnqtra1w nt-
un~tulpsuulpn 4t Lul tu21u1tUtnfrl1wQ 11:1 uitr4t, fitjOPt
attn4 2lupuTPtrPit WI1G WIntiQG, JiQkJ ntunuiT~lwubpt~tu~n fititntu-
b1a1i n wunwP Lp, tututw qn~th wunwu~rtiprg t~fti lz p Ulpt-
GbG GITWmG tu2luutmwGp atinGtupl nrl~thpb 15h? U, pGadjuat~u-
P"'P, udtiun t flwuGrlbutip nPn2 TjdtmwpniantGhp: U~luop fiw1l
htiudtnugwqpuntqpntGp p txt Gw tub luflptgl t 15tip
tyu4mntfiawG fitiumntunn~uG ilti2, uuni~tiiT lz tuuGwumnu-
l tuG qput~uiGntralG npn2tulf ptuw h~ntranG, tinuntu lptit t
IiLUPTUUU1 ultU2UIP tttuqwt uhipnmGirGtipr fitwlip: UtulituG,
LtuUPptip tqwuiftwnGtipnmj, 4w wiluop fipwuinwptptwb tuGub-
uP lib 1-u21tulniflliTfl, npmhtrl twpcq, fivutiPp nl. utitT 2Wu-
15
pwrip11Lu lblithp w1QG uppulGp, np u~inptn ugnp t; qfunh-
GQui 1ntpwuptuG~rntp fitul Lptudb2ln, G44ulugpu blGWp itlip ti-
ptud2unuudlwQ d~unla utuninQtp oplht1nPbtnptiG, taa
tuntug qrn2ultnpntrl~~uQi 1unuttubIr hp h1dlignt l4wi
uitutnthulitnQ nphlz r~ht~pb l tumuupu gripl tsuiuliG tulq tulwui-
2QflPfiU~il~ti qnpb, h Gpitu W21uuinnhialuI irnwl pGainutl
.iuipknp IipnnitantG IZ tuprfrfi Fw itul pd~unntralu 1t1uipmf
tf
tc
in
th
pr
tri
zre
thl
to
16
PREFACE
The period between the beginning of the 19th century until the
beginning of the 20th century was a crucial one for the history of
Armenian art. In this time, after a long, constrained silence, a big
army of composers, performers, critics and musicologists
emerged in the field of professional music.
Hambardzoum Limonjyan, Nikoghayos Tashjyan. Kristapor
Kara-Mourza, Makar Yekmalyan, Tigran Choukhajyan, Komitas,
Romanos Melikyan, Spiridon Melikyan, Hovhannes Nalbandyan,
Nadezhda Papayan, Beglar Amirjan, Nerses Shahlamyan, Arshak
Kostanyan, sisters Adamyan and Ghorghanyan, Armenak Shah-
Mouradyan, Vasil Korganov (Barsegh Ghorghanyan), Alexander
Spendiaryan and the others opened a way for nowadays Armenian
professional musical culture. The history of our music was com-
posed by those individuals and evolved on its special way.
Composer Grigor Mirzaian Suni has his own unique place in
this big group. He was born in 1876 in the ashough (minstrel)
family with old musical traditions. He was two years old when he
moved with his parents from the village of Getabek to Shoushi
town. His first musical impressions are connected with his father
- folk poet and singer Hovhannes Varandetsi. In 1883 Grigor
became a student of the parish school in Shoushi. Under the car-
ing and thoughtful patronage of his music teacher - priest Garegin
Hovhannisyan, he studied Armenian music notation, putting his
musical skills into progress. In 1891 15-year-old Grigor entered
the Gevorgian seminary in Ejmiatsin. The student years were very
productive for the young musician. In addition to serious musical
trainings Suni, along with young Komitas, starts to record and
research folk songs and makes attempts to make polyphony of
them. After graduating the seminary, the future composer returns
to his native Shoushi. His first concert takes place at the
17
Khandamiryan Theater in Shoushi, and consisted completely of o
songs elaborated by him. In the same year he went to Saint v
Petersburg for extending and improving his musical knowledge. s(
He studied three years at musical schools of Rapgoff and later -
of Polak. In 1898 he successfully entered the conservatory becom- t(
ing a student of eminent Russian composer Nikolai Rimsky- h
Korsakov. ir
In Petersburg Suni wrote "Akh al vardi" ("Akh, Of Red th
Rose..." lyrics by Avetik Isahakyan),"Indz mi khndrir" ("Do Not s
Ask Me," lyrics by Hovhannes Toumanyan) and other solo songs p(
and elaborations of folk songs, promising a bright future to him. es
The most fertile period in Suni's life is his years spent in Tiflis.
After graduating from the Petersburg conservatory in 1904 he set- dc
tied in Tiflis. From 1905 to 1908 he worked as teacher of music at fu
Nersisyan school, at the same time leading the school choir, con- th
tinuing the work of his predecessor, composer Makar Yekmalyan. re:
Moreover, he organized choirs, participated in concerts, elaborat- m,
ed folk songs, wrote music for theatrical performances; one of di
them, "Aregnazan," based on Ghazaros Aghayan's tale, later D,
became an opera. 19
In 1904 Suni's solo song "Akh al vardi" was published in ex
Petersburg. In "Armenian Folk Songs" anthology, published later, cir
four of Suni's elaborated songs were included: "Sareri hovin evi
mernem" ("I Love So Much the Winds of Mountains"), M
"Habrban," "Saren kouga dziavor" ("A Rider Is Coming From the an(
Mountain") for mixed choir with piano accompaniment, as well as sci
"Oy nazan" ("Hey, Gracious") for piano performing. ria
Suni's interest was not limited by music only. Since his early he
adolescence he was interested in ideas of labor movement. He was act
involved in national liberation movement, was a member of dash-
naktsoutyoun party, and under this influence he wrote many patri- aft(
otic songs and elaborated others for choir. They were famous as elrq
creations of ashough Dayi and enthusiastically were sung among wa:
liberation fighters. foil
As an active underground politician, Grigor Suni became a in t
persona non grata for the czarist authorities, thus in 1908 he left hart
Tiflis disguisedly. Thus the odyssey of his life starts: first he par
moved to Trepizond, later to Samsoun, Chirason, Erzurum and nev
18
other cities. But those years of wanderings were not passed in
vain. Suni collected, recorded and elaborated a number of folk
songs, organized choirs and gave concerts. From 1910 to 1914,
while working in Sanasaryan school in Erzurum he even managed
to create an orchestra. In 1914 Suni returned to Tiflis and involved
himself in activity of the Armenian Musical Union with typical
inspiration. He wrote and staged operetta performances, leading
the symphonic orchestra of the Tiflis Armenian Board. Having
such an orchestra under his command, Suni rapidly arranged and
performed his symphonic works on folk songs motives - "Vana
eskizner" ("Sketches of Van") and "Arevelk" ("Orient").
In 1918 the republics of Transcaucasia proclaimed indepen-
dence. Sargis Barkhoudaryan and Grigor Suni had gotten delight-
ful offers from the new established Armenian government to be
the founder of a national conservatory of music in Yerevan. Suni
refused and went to Tehran in 1919 for working as teacher of
music. The main reason for rejection was the composer's deep
disappointment with the dashnaktsoutyoun party and its behavior.
During his two years stay in Iran Suni explored Persian music. In
1921, aiming to recover his health, he went to Constantinople,
expecting later return to his fatherland. But in 1923, under certain
circumstances Suni went to the USA with his large family. And
everything started again. Suni fulfilled what Kristapor Kara-
Mourza had done in the past: wandering in Armenian settlements
and spreading the melodies of Armenian music, evoking the con-
science of possessing their own and unique music, ignoring mate-
rial and moral hardships, even his state of health. In various cities
he organized choruses, participated in concerts, had pedagogical
activity.
Grigor Suni's life was difficult and stormy. In his childhood
after his father's death, he had to earn for his family, making jew-
elry and participating in street concerts with ashoughs, when he
was not fifteen years old. Later, inspirations and disappointments
followed each other. Being a very dynamic person, he was always
in the center of political and historical events with actions often
harmful to his creative work. Because of his wonderings he lost
part of his creations and often had to start everything again, yet he
never gave up because of his optimism. The optimism is the most
19
characteristic side of Suni's art. In spite of his torturous life, often
conflicting views, his music has a bright and vivid content. The
theme of his songs is the gentle love lyricism, his preferred genre
was dance-song along with jocose nuances typical for it, such as
"Mayisn yekav" ("May Came"), "Indz mi khndrir" ("Do Not Ask
Me"), "Touy-touy," etc.
Grigor Suni passed away in 1939 in Philadelphia, never hav-
ing any means for publishing his works.
Unfortunately, it is difficult to say a complete opinion about
his art, because the majority of his works are unpublished and
most of his archival materials are in the USA, with his descen-
dents.
Suni did not date his study "Armenian Music," yet from num-
ber of historical facts and persons presented there it is possible to
find the approximate time of its writing: 1919-1921. It is difficult
to say whether it was written in Tiflis, in the frames of the activi-
ty of the Society of Armenian Music Theoreticians or had been
written for publishing in press. For both cases it could have an
important cognitive and teaching significance not only for profes- t
sionals but also for the wide circle of music lovers.
The research presents the systematized history of the r
Armenian music from the pre-Christian times until the beginning
of the 20th century. The author divided his study into two parts. j
His first chapter describes the ancient, old, and medieval musical t]
culture of Armenia including the 13th century, i.e. the fall of the k
Cilician Armenian kingdom, and is composed mainly from the s
statements from the Armenian historiographers. t<
The musical genres and instruments of pagan and Christian
Armenia are presented in a simple way and language. The diver- n
sity of them gives a chance to have an idea about the musical cul- A
ture of ancient Armenia. Especially the existence of the rich group c
of string instruments is a result Qf highly developed sound-feel- h
ings and testifies the high level of ancient Armenian civilization. ai
Suni tells in chronological order about the musical achievements A
of Christian Armenia, about new genres that emerged with new R
religion, about the existing schools, church singing, musical nota- n
tion, everyday musical life and musicians.

The study was written in a copybook. Suni used one side of m
20
pages, the others remained free for his notes. There he wrote his
observations about editing of some phrases. He has also some
notes about the musical changes and news in Europe in respective
periods. For instance, while presenting the important develop-
ments in music in the 5th-7th centuries, he compared with those
of singing systematization by Pope Gregarious the Great (this sys-
tematized singing became an obligatory for all Catholic churches
and famous as Gregorian chant). Suni wrote: "We do mention that
to the Ambrosian syllable d, e, f, g from the 4th century Pope
Gregory the Great added a, b, c, d, thus making free Gregorian
[singing] from syllable."
About the 8th century he noted: "Roma in 768-814: Charles
the Great spread Gregorian [chant]."
Near the subtitle "10th century" he wrote: "On 17th of May,
1050 Guido Arezzo joined." Or, presenting the music of the 12th
century he remembered French troubadours and German min-
nesingers. Those notations are not occasional. Suni tried to see the
evolution of Armenian music as part of music's international his-
torical development and by comparative analysis to separate uni-
versal regularities from the strictly national, Armenian phenome-
non.
Suni wrote about the Christian Armenian spiritual music
beginning from the 5th century. One can ask about the music of
the 6th century, so here we should note that musicology does not
know any stylis.tically stable new trends in Armenian spiritual
singing. It was mainly a period of "fermentations," and the his-
torical sources, that Suni used, also avoid that century.
The second chapter of the study, titled "New and contempo-
rary period," presents the course of revival and development of
Armenian professional music from the second half of the 18th
century. Several important and crucial occurrences for our music
history are mentioned: the appearance of new musical notation
and its role and significance for the Armenians, the polyphony in
Armenian musical reality, the understanding of the fundamental
role of typical touches of folk songs for national professional
music among creating circles.
The musical culture of this period Suni presented as "secular

music" and divided into three parts: peasant or folk, as a minor
21
level, ashough (or in modern terms, folk-professional) as an aver-
age level and "social" (i.e. professional) as the upper level.
Suni researched deeply the characteristics of those three lev-
els. During his study at the Gevorgyan seminary, along with
Komitas, he studied deeply the periodicities of structural, com-
posing, harmonic, metric and rhythmic developments of the peas-
ant songs. As a son of an ashough family, since his childhood he
dealt with that form of art accumulating certain resources and
knowledge in that field. As the fates decree, he lived in Iran and
seriously explored Persian music, enriching his knowledge about
the field of ashough singing. Nine years of stay in Petersburg he
devoted to prospecting the European and Russian music and to
state in current study in a short way everything that he explored
for many years.
Suni was one of the pioneers (if not the first one) who initiat-
ed such work, and naturally he would confront many difficulties.
Today, Armenian musicology has gone deeply in exploring the
history of Armenian music; there is a volume of professional lit-
erature and a rich fund for the next generations. Yet, for different
reasons, there is not any published study with a simple and sum-
marized statement of the elementary knowledge, that every
Armenian musician should know. There is not any book where the
history of our musical culture is presented objectively or the role
of a church or historical figure in that history has been elucidated
without any excessive caution. In this sense Grigor Suni has done
a very thankful job, and publishing his study is an important fact
in modern Armenian musical life.
MARINE MOUSHEGHYAN
22
'U6 bPUdi~SfIH~HWU
luuf ' uwj IpJPWZwL flLF7I7 J dwu/dni, w,,l dpL~ib t muq
bpwu ujwufdwwfIL -- fip qwqwyw jri"UP w~fi InL"I'
, nifn/unL f~ffiAb L, "pj 4wuwUjnLnLIJ hi, wiJhbfiw/d fi na,.
Luwnwgui4wi , 4Lduqui4wfi, 4Lpolw4uwi, pwquipuJ-
tIW~wJIIA IL J1L k LL I1 jJdLL Iib , p/in p)Jfp/l-bnunL j 7mfLJJifJ
/JJI1fLf~IiLf/ljnl, n op OhLJfiJL4/in LlJw5,UJgnLJf 111I7J/ - J7LfJI1nhi1J
'u J/i wp"Lun/ w'uJqt tS/iLq/pi1Q atr, hpttwl pbpb1 IL wJl, popip,
rpllnpln 4nqdbppn~, np /niLpjnwqunL4 t /ipI~rbi: b:L, n poa/4bLbm
aUatlf t/i pJlU pbZ jpwi l/, wiatfi at/ifnZJ j Fnqau/piiw jW L flLfiLr
wfrjrLLi7~UwrlfnL 1t , liprw brpWO~LnnLJbLi jft2. /ippL fL4 W n-
IfniL q .rLJ'fhl'qj1i pWl(11(lLWljp7JlI UlpWnWJWJmnLlQ/iLl, 411m7&W--
Lfu L L 11111 ujUfLILILw4ufLI wf fjpLJ/UbLIIJ t LLwl11fLY JP W~l1
' .SU4JilLpj 4 11L~ Lpll Ir~fIII qwpw jruAnlwi uiwun~bp/i: Zbfiv5
Lj-Lyt u4wb ~u dq117t LL17! L fi I"tJiuat'wpf i j i w11fpJb~m i1 fi wbd
0" /i unbiIII1I fiLi IliLn IL IL n"Z. bqZpW4UWrflbLblA fiWIL
4wuatuip), /iu4 at/i~f/ib, 4(/i11 &L Oliui"Jli Z[p2w1111p/i (uutwp rtmI
'ILLL1p/i1J IL u LIm tiIgbi7Iif njiu4 wipUJLtnprbI/i t, IL
I£11711 dLJfiJfi tnL/p/iL IL fipjw JWLr JuLLb y1wi n ati nr ibhpt (f ui--
10/ 11/iLJl"4LfiJJIlJ5 L' ,p ji/i t/iuLJL, I1tuLLILLIIIlt f IP/i"
fi wLJnL/J bl 4.d bp. IrIilp biuwfwlU j7u p1AiIj5IlJ Lp2W-
23
brnLJ, J/1UlJfjLWJWJfj /iiiifp7JqiiU ?4,jjp//ulLAnlf wJ7f JiuJ--
qpL/JLLAJ ILLJJf'J uwi/ijiii /iPuigiiPi&JLLJr 4wLJJJLL IL r fU117/LL1
PLLLWIJJLLJ7J1" uq 4iJ~~inLILnuji , 4Uy in~iflLp Ln14fLfiLJipfli/
I1YJLqrL tJli wLi/i 1/11/g i, JLfrLAJILLLrJq 41"1 Uh jqfi, IiPwupdL-r
iflhlLJ17Lwi few/ifuw wi Z pgfwbp &w&Lw&ub t ujUuinf"wjf'u b ~-
yIiw~/i /JUJfJUlP /uw~nc1/, IL fJPui JL(JUJ/4J til" /uug ui
~/i 'P~"i/i'f mjpuh dbJ/ir lhq JwJmrfi/ t, up 4WJ Jtnqn-
i/u"_PlEfflji l iJrL/T 1'F7~ if/i IftI~L/UJILL4UJ (IflnfL/f., ii~fL--
i/lL AL /LP' lpq, nPf ihmg 'L~wLL b/7"w 4IiAqp/ uprnw"Jwp--
mnnL/J/i"LfrJ LLujL1''FI ilnnp I/fjupIf' flL bL nj[Tp41rf, php -
74itjiLAJf wLwfrrfLLi/fi 4wugpbL Li/ifIiL kipIfiwg/ti Irr L LJiitIL
Wwi iuinpnup3 (X IiUI"~L~f):
fryff wLUJ~fLi. <ctLUuwp hu IJI{Lwkwn 4ffl C 4rUf >>, 4LinLflLLi
W/i gI ipL- lAw4u f lfwi i"f /u~ w i qiJ p /ul lpjnqf Li
fpnLuijirArLiPi ljw~f rpiqrjfjui Lipf,~Lip: 'DYLUUJAJUJLp1 ip Pli-p
f/iJUML up 4wPjplh/pp liql1 t 1I/iLbLiw - iui p4f/i 'An /Jwfi
qff/iili~/tin itUJLWiLP: fdt' I1npli~wug/ifi IL /Jt' i liutwj u/wi.--
liwt"/pL"IfLpL J/iZwinwlnL"PL r IA tnL~UJw4UJA i qLLip/i lL
',u - LiiLLL pufihuuunhia'iwl"ufi, inwijwgwi/i"wlfr lp.-
11Ijui/iwni plip/JLWie (arjpwpinjhfujj, L1ppl~i wif'pnqjinii
LipLLlurJwljufr 17ni/Ub7JjwLLnL/jJliwi'P), nu UJ/LbJI/lip LP LLL t
IUniplfhuiynL Ift «(~j,~brru uuuu~j ui'jg 'V-pui/~p i/i-
ZwnllWLnrjL1I <<4pi Utt"U UJlihhVp >i;> Lfi/i"5wL: 'L/iujuufriw fuiui--
LIL J, /iJ-l LUI rl LLI 'L L / ( L uzL i ~ P w J L L b uJ I1fi w p L r
*Rng" 1iw4ijL - PLu4Lu fIA 'lini lp/iw~fnP t 4lug "ufi win
P3LIILnO brltar6 - liqZiL lii Lipkwluwwjf Ui qL/Lgifh--
p/i ZgupP JriufruwI uljwI L WJ Ipijfni/ Z1u1PLu11/jLL1U wJ7J lip--
24
riw-- -, npr wjdfJ tj qn"JnL//iu nL7J/bi /t' wLJ/ b~lp/i 2p~iLLf Lt
"Lt! Jar' onibpw j/i l pljfqnLJ%) bLpUULJwg/fl bqTrwhuiljfi u wj 4&IL4
171: wIJLJ lat /[chatfi~pL (retchitative): ujn hliqlhgIwlw
~-lip g1135ni/nL/J(7hUJ Ji7Q 5WuJIJOp q/ilJnL/d/lLL ilLIi/i <</,iL> ulw-
iulh.- unwpwqp~ LL i n[u h p/i' <<J t.WuL-j/p>:
U/il b £LI[I~nLU IL b(1q yJn J8 -- bhz Ih ufwp/l 1 Zr.li
qiin- li'fI iJ/vfiiyiii/ w LLJ(1I7LJLILLUJ/ir, ULpul/lft' 1 nut In/un".p Input--
li/-- ifwirjrpnL tf1JiAbp/ri /7(iIg/p, 11p141p4?jr IIhiitL/7 b4w 'Jif4LJuinLIf i
Wp-- 4 jr u iwj/4 frlip1 /wwynLif~hhpnLf:
lip-- %6111/" - -1 r //wp&UI1 hpqr/ip~, ,ujruwpwl i nt. u/ipjwj/i r
it L finf l LJfiwIJnL/J/iUwifp:
Irtnl2- h qhj Ih, wJ7J /pninp ifb/rjh'/i/ipp. npril ut~w/i/r,
r- nq pwuuwg w'Z uwpoqZ /4uJiwjp a <hqhpwuiw jpbpe'r°, hpqifh jf11
IL) Ufrp~fni/ fL t iwL/i /ui/li1ni/ J"LquwJl/UJLnpnLJ/rlLAJ/zp/i Juuiw--
1 ',u4, ipuiwiwju1ip/ fr nLpg: <2wJlruip~nL" wZ /uwpoq/ 4ujw~j p
;[,f uuupliuq Furhp> (hinphfrwgfir):
u' J~ lititt17P ppc wEfILJJLb~Jh j it, khI'wgnL It J/IuuwJ c/ul
,f,. iJLLAJU IWpniLLi, qiu1Thuquu f1LwurwpuAl~ubgnj , /yli uj4u op/%iw4j
ilL
'II,
-5, LUP L~ibU ~JLjqUI J (AAP
- fE~Ai2 i-- nil wjdifL-"'1' wLLqLL/ulJ uwq/: 4jwi jnli--
h 1 "tI -'r-Ir 1ep~ 4- 4lwmnwplh pnp v""p1#ui hqihL Mi w?/fi5fr
4- 4uupfiw&- (urje zfi) It 1JLLL~jL/i j4- I1 1t uturnngni/ (ti jpip) It
i- uiiiiiiljiilh1 fiu 111/111 wn/fiuwf wqljiizp/i if4. LI1UrwLLUrLLI
U- t//ip Iipu bLpnuL/L IJ LAgLL4r UfUJ iuIvnLrLw (jpuuIifnLpwI, i/iwlr
* J"Lwz C~p if f in/iuug'lrnjlur pr wlfpliuwi~n f
?Iitii pupfLgU ruwir inl, pplJLrWILnLJ 4-p, *fw~utn1 ip/Au -
LIuwipw&r nullpltr~int
SWLt 4uni uwptinuwrwz -- if/wi nuqiun] l1L1Ifp1IV bL
(wJoibm uA rbw wp fui 7i/ut1luwl d Ip) Wqfrp4-" LwpIhlpni, up
l7ujui4u wufi/ ii d Jnqnjlji frrf4 hp/ f4-, JItutLt fr <p f gWI
'11 if, iiipw UUJLUJ& 111/11/: «, IwUJUL111Lh1JpwpjarJtLr tal UiLiili
25
4LJu4-pt AWL/i1.., y, <(LLLLA, uIL [L 1114? IL I2_J~ 4-/4 UnLL/l Zu
IquGWgJ,) nji hjiq4-/4 WLLJZO j . qthop>> (jI ~iutr/[w IiIq. rit
II. 'fiw9. 15.1O) 3: LU l RIril/pfl 4"L1 jwjmi" b p4tp Ufll"Wl
uL ii , 4uuuqm/ip/ indv (Psaltirion)' LiLwqrli t I nu WJii */, flL~J4ji 2/
I"iLIPL fL~lf, 17F UJLwLnLL/LJ tj Ip4fL tIrm o/p Jfwmibp/ &3wjprnq : 'it
"'kilL wLJuIorfji 4- nlhf piII7 b1-flLfwJ/i fludiwrli wfJ 4/IlfllWi- q~r
fLiLnLU LLJ f. ljiFirpg, lr iiiLWI1J4gILJ 4-WJU 4uuf Wjb Solo pZi'
AlPap&/igfb (JofruLo1/diWJ/Ai 4wnf n w4b)4/
b4bjhyiw4uwi nprnZ 4ILq~Ilf Uwqzfnu (uiLUWi Uii f7) W i LL7 ,NIL
ap/,Vp 7J-LULU1J45OL Jfr~wfZt 3nL/4wbbtu 4w[J q/i 4nu Pwq-pW-- t'u
mIH"I-J Lp n uRIL U W WJL JItL q1ufl4WLntnLJhLIU 4LlrL/J/iL j/i i'i R
ZLW LI LL4I1Lf 4-. <(IULLI L4(jlOb uwL1n"Ipfl-bfLPL/iU IL qcLIWJUU
4 f/iflmLW& uwwLq/li Z/pItliq A LJwLI pro&fpi, np/i
4WqZnLJ 1Lbj! WLLrifip~jqt4-I 4Wwwp7 iwrtn &LW&: (iw
jLILwi~j 4wub4-tn flL[/l mwu/, IJLWq-LL~f4-1 4jiuArwnnL: '" Ii
91bwr'5 4wJf %Wto n r - oji dip wJfbuA, &pWuAjlLpII ~ufu-
4wms6- $91WO p/v n~ muAJ/frfi IjUIw4WfinqL, 4PaJ!J "I"Tp
IfLLLfUL/-jbwzlfp:f #10uAln7, Fpu 4l iQ 4/JLWJ, ft4 wjtj 4WJ~fw- 1
4Ifur I-jnp&/&p 4-, flwj5 w7IfiIAip, /dQr hIA wLLILf omuipwq-p-- a'iL
nrrIg L/ 1wbw 4-pFWJ ' 4nfLnL~f 4p frW&L «ifobo/unpsp : PLIJ9t qzW ILI
it4- dp «,guin'l IfupA-ui~. ,DwJbIO" wpLILblnu' Luqiu4uil
lJglnri4 a4-'t bdufw g~rjuiwj/'f -- WUrrIfLt 4-4 Th/ilfi puinruiw- 4
'lIT:17 ulLIIJJILJf IL AdnLrflp/nLLJ 'lLWLhLI 4-', UJ~LI w't1J[4i
'Pnpp I/ u,, npm4i4q/i L IL'lqp4n4WU' qW'~lw'l wqjlip
Of 4 h~n If urw uplp LIAIOL'l'lbfl
h - upa, "fW/ i'l twmY ,/i 4- J/i~wmw4Lw& fL -lp LIfuslihi-
fi'lsipli/i fi- 17ILF1 4- d/fif 'lwrtWph Wf uwqAidW'l4~ qrIp /p
26
Zu, f,Jtufi Lf/PLfJ/4 (luth): t2'4hpw4gh1 t Ihp11I75fllL fJ7L~Uf
nLbII5IJ1t 4r /ifi 7 Jbmuwqb j Lwp (u frif,):
9w~ul4 M uw WUP~j4J wLf Jhmwttuj d~1wfwlwI1~hp/' ,/u.
r/iu wphgpnLJf S4LJJ 111111 Lur fLirLI~ 4wLJ4 wLflq/ wrb'hf,w~murc
Lnu- L fL~l/1J Fnm Lujillfi cJjZr1figf: !2WAi1/it/i WLli Iif/u
1111P LLAfu7LbAJIh, /uluu op/ fiuw4< jwut, q-,~ imwIL /u, fL'f--
4/,L, 6bJ4/uiL, li~ j~fll-p, jnLbil"lLpr: (iju udfnLdd~f7/1tr /J4t npfu 4
LULIJIp LV/ur, f[LL LLJJ7JpU lI 4 ~ it" wuh4 pwZLJJy LJpiLLl5/
IWIIJ[/uuin ifblf Tip up p wg£uwLif, npn /~hink wiflhiw'/41ir du,-
ifl'ubtfhW f'u/u W"Jl- wLwLJWJ 4 LwLliJLJJbLU: .QuAj-ru1vy /up rIn.
lJ~ur' tu2fl'1th wu'n n~jqntppqr, diq ptuG wuuw upmnwit,
1-Jwpom lCQp wrnt2 ehQtirG, db pwG uiuw upiuu1:
3. i3niwG/uulw6
(ip/uuuuu4tu l/pff. St4bLu i /A, mwqwruuu.y /upr Juww.--
p/ if4P jrl 4/ur/u ,1b,L wLb//u 4 (,uwgfinui, ,nuqn,/ fuIiLL
n7 qf wA, hIipu l/,b u dwfwlw47Thpg: <<Ir ,EZLIJILfi n 4flq/u
4'pifPhIu Jugr tiyuuJ/u ... hpqjr p/uLpuuj/u ,1 qJLwAJ hrg~/ I.-
jWJ If fgrI/LlLtlJ lJwruc fifbqgu44rinQZ pU~V IL w14,V, ng~p
4,Zup unwg/u4tfi hurl..., u/bgr/upj wAfiifw. ilhrL g i'fbr dh u,h-
fuL nLQ42u IlL wq/up,# iiu~uAJ iL 417luIt/I 4rt JwomuInw/uf...>":
9gnLLUiLLAJ. IL £UJ/ /pi[liju/Aie IL uiwg/u/r e L~uf-wnr/
tpup~u4u/ug u fifu/i /ouh~Lgy Jlwnuj, LLun/U ,1.p 'w4ifw--
yZ 4LWj 'ihwbpiuLi frt /4 u wI,/J nuwI~4 IL 157' ppg/juuu ujw--
Uj,- L nI'u&/up i/ug/ug J/unuuww4luLi hi if/up uwumfn~r /ugb/ep
4/LILuU 7J/'ggu lt9UIU Lb
EIn2O-. KJ UifJpmw 4pwwuq go/n qul ujq~ud/uu C.~/u.
'nll gudj/u... (Iungruug/uy P, 46):
27
pu1&t1, hl~ /i U"/L/U uLLC~lLAI/. LL 4wpbuq w qqww o/nqb,
If/il Wt wdIjui goppu dfnqn ~juyli fi if/i i/mjpx (fUhbnp, utr. P,
45) :
167) :
((SLUfp (jiwif tu UIrif/~iiptul ,b /1b I~~u ~L4fjhy '7WIg1LLL7b1
qi~nip nfw~ui~wIcfuwu. I h /i u UUUnflL fL l/nq~nyf c w '
Ifh Ojhw bpr4/ipf Iol~t. bL flnp wnwpl L~r u'-
ILzi JIW Inl/laU WLI", uruijp wuhtq q~wJ/d/nfjhbi t4w~wf,.
bf1 , guv 4wugh/ LLJb y ai qL1 wj , rq/i /1
JnlL/ /i1gi j ~g~huig Pwfiw4' uuywp Wujrun~ /Ifwj~i Uphw -m
/i~/i4 ifurihI,, hIL nIJ 11p IJLL 4wffJWlrkw~LLJ~1//L/i pl l wpu/im .
n~ hr wp mi/u wnid (7suqup, 2, 86) :
((bL tuiwi~/ (Uiw~u/i Jf~lr~wILnlnL/Jfi d~wrlfw-
fiwI4) MLljhi /1 4W~hn t/nqLu, IL h w~,trn qI4/ {IJ~L~~ n I yIL
uUA,4? UILLLwgI~hLuip It w/uwproq wIjhwjp... uiwpbqw q-
5/ifJ): (k~ngIrhw5ip, P 60):
<<PwI" ctIwL wuri qfiw (Spitunn) / d~ngqiur w prw W- 4
mflLw&roplrfnL fi, I pIILjlncLf1L7p /zf 4ngy... IL q4bJ/ irtiwt (n
qtjzwy #11114 LL mulL/il/ IL 111/111, LL If IluwbAp nqfiwuui4?)? :
7fifb~ /inqjfi Iiqbi t uYrLcs"ih9 Z/ifLw&- WJJrUhAZ iJL"PW-
fr ZhrhI~/np/ t"i if/ Inp&/i, 11 jnph& w uiVLhi /Jt u ucb-
p'w1if/i LL /J~' iiuiquq ((4bqL~ufrhiP It JnLq~WfI~fLnLpIL- w
T~hi~unr -- uw tL ullrtJn if/i' Itng&/i <<: h O#v"yw
bpt1Iiiha 71op Ir L qW7Jn7Jopz JnputjwdwJ71/iLpg: (9 Wzulnj
fLfhx9 1jn2 -u lwuf wu U ' f o
9LwrwnL2 -' upu ifuiu/i 1 4~nwfL bq/i (
tfU 'I aw jwquwtjnq [4~10im IL Imwu71 Ifnq fuift7 ulrwpCu/i~r>:
3/ig,Lif 1,7,... r1f nLf, 1L + ir~rud,. dr 'IpnL ~op l IL w U/ L28
28
q I /4 I t/ ~ l L < ~z/i It w 4LL~pUL5 /LU , nLJ L LI/i t[ LUt ipLitul--
LOW( w4Wj Z1.1" r h-fp~Ig4bhpnLff i11nP61 MI wE WhIL rd~--
p~ ii pgLI~IJI~~nL, /~Uf u1JJ'wfLLAAJi~Lf I txjwiJusbp-
l pnLtif, np jlIi ilhpn/ j~ h Iff4Jbb~jLbh It P~/%%~ wuwul1 I&
piqwudniIJ jj Mer n17Irh~, 4gb1 Mi, q17n " dnniwl uri "L witp
/ubiii, /t fJ" friiwdTh4 itbW(L 4171-IL"Pf 4li/i4, I~rgI1L bM
if/vwfli 4PwuuwPJww j bii 4Urbrp7u7JIP1L~f, /Jt bwlL dhfb IA1Ii.
jlflL dIIf JkjuqiifiA f : Ujn~pu by iffiujb 4uipnq Mibg woih, 17p
tiw/upufiA J MJiiji"fi UILLIJIpwL4L4J i1J iltit! tlL/JbWfi p Jw-
inL Jr IifhitdLLfi 1JbLfJ7 bb Jf~uWanwWJIwP,-if it/LrfwgI -
4uIJ wawuIJ1L ihPf, nojr" i5 /4'I'rtlwi WpFl/1LJP - -47h1 q/1L-°
uWl fiuLJJii~ L~4jOW p"If f'wIjDLAJ LZUJ4 LII, Jq4 Lhi/ IL "P nZ
d1Th1 Mi it~nuI5Ii' 4uiijlfhLbn1 j-IL7UILLJJ/LLJ' f iqm Wbu /igW-
LmLb1Ju it WLLJf Wjb L" bJ L "L[LIIW[ II4 Z"Lf1 I7(7ILLL4 UI !l ,c-
1u/LhlLI7U inwfi wLLb A /iiifip hbpig -IigiLLUUWILIJ tLLy7pt
{p: l w h/f Thni wLi wI2LJJ 6 PJJ I t 7,f r P /i~,4 hOw nw-.!1toI
JJL irLfL 4urZIqdnq rtLuI-.ZL7JJIpA, QipnitMihg, 1Twj--
4cnjp A1 fL17 fL)6i"f-/7J IL A-i Wi J f PLL~ 7/JL~J hLbpjhg1t
4e1O f, Ars c"Z Liwpwnqbbp 4nq 1, u1pedU uWm bL i l"L 4 AlIvg IL
4L~ Lit Ulfu1L 7hflpf bL LIMJJ LI7IIU7JILf MipD, /Wt f lijIl" «0h"--
")t1"1#lhPIt A q~Lw71 w n itpfl7flU5 i "L1All t wj 111' 'FLtq"~P"11
j/J " ' i" 4 " f h -Igf i 4w jA"I L muI ppLU 7 flL ' fl wMijqL U LL f' h ) L 'fi ubflhL
U71"p7bp m4 [J'wq~l~n 41UJ 4JTLLM I-LPWoJ11WA uq'i fur ut-
', ctfrL idi j :
u~ w29
uniinL[i~fI i" Ijf L qphjPL 4W'j/"L 4iiipnq hiA JdnaLugI1LJJlL
L lf, JLfLwbULIJfir h/Jt Luil qliiLwplipfLif t bpw 4n1ji~u Lt
Pwptfjiwrnjb/ wLfpnLtffb i/ r-bnpn l gbwmflu1 uuznbqchw-
ftflpe~nLfii'~:
I'fLipytU wfi~wcnlJIbj/1, fiJfru1iU IL dhrLf/Ii~Lplrfrbhlp fi/i IlL
11"7kp/ f Mj 4Lk fr J t wi/Lrp? L piijpwpnqJ jh f7lplLif -fi, h- "jj
UIWJDLLP7' LlILtf bJ/ bf / i f 4 pflflmfl n/LjfiflLg 4w-
jmummb Ifi-mp 1-"ntilffLgL jlimi, lip LwpliLbmw4LL~f t- mmiu-
bbmw4 r1imhP Lg
4uibi/ pzIiu fib fib mbfinzhm'48,h fLf #P~nL!lf/
4mbI) /t kIL jwLL~L&w&, /ZwJ5 4(bJ1iLJ t XI TmP"LJI Li bnjflu4
JlnmtmU Zp~wbIbrnLLf, ft IjiwbmrU~fLh it, hjt JlrP Dgpfl"-
ufleLb IJLJn/b IL gLfL' qutql, Jnr n /pitiwbpfg/
l,. '"Lwu' iwunLb/ib fig ((8Iipj L 7ftubnJp 4fib 4wj mu--
owbi ! T mp?> wjr01,VLnp IijplfWLI/iPnL J~lL hw bb If T.f tL 'hP L
t uinJpfL uIw puwuILibj lp h fi b wcfw~fnLf~liwfp t- I/liw-
gigLnlLif At 4mg[Iliu khnPlibLUnL nqg-b t- 4LU,/ltnf mjbf mJftbyi,
(mdm~p, /ibj Jlib,g W~Uiduup(4 Ptt n~rqnq Juqut4wbg 4wffm (4
Jpflmb-Lusdmjb gbw4uib lib/g 4ustwjmnLJf: ti
LL1J" I-ilqoflg 4mJf juffubt jpuw " lipipigr /iL/Jp 4P 4wp- 4
.hrlif u/ipmj/ib, jll"m~mb &L bifpgnqjwfmb: 4WuiptmL mrzwgbny
4'mu4bwp4t bqfLp~j lipp Jmplt/ih4, 4 fEut ((Tlj~i Ii ,L4i cuiJ-4
Ig>l qjnpu rnfL"I-p JmJmbiuuu 4E Ifna~ cqligt-u 4h[Jmbn7- 4
uw4wmbu>>.. LLm4u nprtflb (upuwbhiwmb fubfl Lky li? p-- '
ltw3-bhl, r~h 4 'npmw4,f cclifwwbnuw4wbx Ifuif 'x11/itmwb wf/
/umwqp >>pmniipr/ 17 c'AfLWm Wb lgPI-,D> bb b~njb mj <Kfigjf4?
j-nLuMbmgb))f, bft, Puin fbnp~w17jb: (kr7L jl Lt(LL-4bpLLI--b
4tub, 42): b;L lifb Ifwgligfb nL/ibgD cnLpm/funLj~tlib mmu--
WUf wL pf>, &pnbgLYfib mumm Ijfig bm ,p 4gthfWh [P~jgihtwm
Lng cjup~qz[ 7mmlf Lf Ifliqobfu >...L ft 4lumpmg~rng ccblitpL~
wcfofJm fLPV PuliLLLhipp')V
30
baA 4 ftn q ,pWwl., -- Zw puLJuJIn1LJ t- 4. wgn1LfJ/iJ,-- 4iwJ
I JA WL fLU LLJiJ JTIt- qLJJUp, lflnLLLjwnLJ(ifJI11Il Zwut1 wLb1/f
h t" . i tlr i p j twn L I I t 'UJF u~ b p t f p i, W wp11 b i/ j wui~ n ~ / b Ui~ w J uw q I l J
I'L fJLIJF wupLL ILWt JJt u q I1(duiUIJJ pilftwnf «Ijilf Il fLl~jf-
wluf 4nLIAfx , (flu4hpbpurwi, [JnLq fr IL, 851), Jr fu-u wtr--
wu u4wfi /uoupbpr ft, bbf. 4LL"JJpwuftiulp 4c 14P wjql ofu-
LWhI IplLI.LU fJw)' pb!pwii/A frJ t1 ((pwquLJf /ulrqlfwmnw4nL-
fJ/lL+1 IL [Lfitlfl fU/JOUfLfLUU, tplUp~lzwlwpJInL/J/1L[JU, ltwlnflll
4jwpufinLf4/du)):
J'uwflrJ wInLfuL uf jlLU/iJfuonl /lL~dJ /44? b/i r ufLpquLtLf ,
u4 up wj'qIJt fL/wzU 1jJ1LL1LJgJp 4n JLlMuibl liql1L/ Ii uf, 11 u,
fZLLIJ iJ4-! OpLLLJ fwp/ipp lij-nl It 4wm'w4wpuc ip w~fbuq
5 1' wJLgbIlLtf -/ifi tiiu 4LLIJ wjb, qLL1J/lcLI4LJ J wIpLwl~dJbipp.
"' IlL /iu4wLuf1TU ph JIILIYJ wjIt YlJbi lWli W4flJL/ifJ wLlifIwqJ
IrnLLf t-. «Ujur~, t nqpwl... q~jwmui4ubr JmuwInpuju, up... L4ui/i
um- ptUJgjfwwfIwJUJ Jl f /ippk qwjuw'twp1 jwi/ipli, frnlib, rq-
Flip Lftl, wp0uum/ fif, gtJflilhLLJuhw wulnth/ pli njfi qwq jiw5L.
'w" 51141117 it qntfiu ' wjin j, qndwbtu gwtpwut, qndtwfiu
ft/ /JwtiJui71- It quffuu dwq -... > 17L sflip li'4w£/fiwiL [JWI LJLyip
WIr' (IL 4iujpwujIzuip) It wq7JLwqUwpJ fiuwftihl' fi iiilu wjl/L J/i-
fw jIJL QI1LU7g [lfLLLt/fif /41 /i 'L" - ~j (/uqu 'nu wj
'p- I4pbfwpj 4p4lhL +'wLurnu) -- Ulul~f t7 4. 4wLfJ fi/lJ:
us Z. 4wLL5iLJnL litfLUJ1ilp / qgjpnj1/ WprpLJUip wjL uiliqli-
ltn IflLJ4lpg wJbnLwl~i7Jv7iL WpclipWLup 1171 uL Zt4 lji~L1-
7 1W i/iILI wprrwbi : U1. twjmij9 WLli f/i , ~ZuunLt J)A
F- ("wli tWLJ7JJ4, up / Juf~L - 4/4if, wj~iufTu It 'f'/i~ ipuplip'uLd
uf lt""t 1/ 1L f/i LII biA fLlilig1lf f/JIL z/wpp/fi s4p lipq/ihlp
tp (clhansonets), apnubp Jr/ugpbh j14 /pwbtj bp~lg ship EImumiLUJ-
u-117 bl/ lJLWlt/i '4lim JlhhiriLifq Jlip Jmmlrhiut/ ip/hri I4uqif/ig
ftu if/i pwb/i mliqli4nL j'J/ iLbbbtp. «'tLmpc{ui4f1ippI~... 71IlLJ71LqjLJ
1/ftwLUI4WlJ Juituiu 4 'lpk/ ibd 4n71ngc (4unnL71/i, /z~idnjp) 142:
~ pzui 4c trpL jWUniL/i /Lp iiii/imquwig Lhif~nL/lW p hw /ij q-/ti--
liu IUrppnLu It jlipripi quwpw/uw (Iunpliwui) h:
31
((L!Juf,7/i'i... q-/lJ/AJ... jinqop, quijid4op A. tjLnLUUAJ op IL 4W-
lnw4opx (4PwLUUnnu): 'i/uf
«n4)LJ'LJAJjwqwwuiwy IL fP nw~c f 4 hIu-jny ..nfl lqLnLUio, 1 n
hlL I/iiijjidiijop ujrjq&I~i ijnL/11huJ1 j pbfu'i (!Uuminp(lJ (l i Lp nL
4tu ?/i'inq, 4wfinfi, 52)30
/nfumf~ jL~wdwijrLdJ t- riJnLJl ,4n171-&", n7L w~/uWp~fi4 bpqgfi lft-,
IL 4nilnp7 bjpqp LI7Jq/rlJLLI'inLJf t 'inpunj1nJ'i ilmqwL/iuift rt
luJwwnql Ijnqifji 4Lw'iqtuj d1174Z/1p /i ,f~ rpnpbnj wuljpnq p
fuoubfn1LY jlun 4Wp4 lbip 'w"IfwpnLJf w'iyihj aijJif 4"nl -"--
fIL ~inbj, fJ57tb Jww diu /ip'iw pji /ii J/wunwnL--w
/[J/Lftu lp nLIIIAJ Inrtttnp~l (hl ~hrqiw4wlr) khlwtfZmn"jbw'i
ZnLrP: b
ljwU/ ug w4wft pg JwJL1u4f/l'ip in l hp4/dZ/i nL /zIoub
L " LJcwrlw'iu4, uqJl ufri5'iIflp 0jP/UUinlt4Wbpll:/i'i:
IJ'Ii £nfjLng hgwo'unnL LJ/iLi j/'hni inLin jIiuin -
l~t4Urw,~Afl 1L~Jg, WjfinLwnJl'iiuJb /iL jilUp7u t IjiJ/l&IIh, n7 'ii nn
q4h&fT~l~glr ~inuw~jw' wgr1lgnL[J/iL'i/i IL 4" uif "
Ig dc~~ IL~w uijl finJfi dfnqni/gi1/i tnL fJ/iL'ftl 4Wfudnrj npn"Z Chi-
fJwftnuuIwwi incfdiji nL &iuJw4WuwLJpj/i'ibp i/in/iil o pfi/u- 4iLl-
lrg ~nJq~ j/ni 74/4tf qwpunq njrLji rfjng(f7Li/J1 4 nrIih1np-- 6nLi
qw'ltr~iw7pg/ fhbgwphjlfifpo bL ji?/ih wltrthop g p w~ u /i5:
4wuri7 nL 4niiltnp7 hpqhp/itLf j w~jjuj/iu/i fhpgL, ngni j byFinj- #h
IJ7 ni Ifpi 4wu4w& f l/i fnnrjbLl J"p IJiwojl fi~~iu fuu l7/iuuiiir-
fr4w4wfr% QifJwfinuwIi lpbhlII7 (<<WLwL-or jnLUnf>- Iwjf)
bpwo~wmnL fbuAJ wjql. t/iLg7 4nrllrnIL7, wl,"jwjsfwbi 4wj ljlw.--
pul!i1/uLifU jUU i4/ip5 iJJLhlj/ FWI-ULgILw& 4bipf t- nL'iftIIh, IL
WJql 4bwrfipp Iirqlrj t 417 jL'iLntlLw& nL pwgifw/J/ii pm'iW- L
f07np wZ/iiwuinq frhp/i /ifiwrlf/i' JLftjAILW&: Liin uhi/fiw4wfinL-- "ut,
32
u i/uI rlL.LffLfIILA qJIn p rp 42 LJ~~ qwufinP~w~ fign ~y ,b
Lj 4ULL IA l7y~uijILJ oPlip/4J Jbp ilinzg 4wuLii:
_ 4,wJ 4111/LInl hq iib IIIIrb hgi ulw1IrlfiAIL1I buJfJ /uYrr~gnLJf
:i,iPnfi If"~i fuuiwIi 4)7111-7 fiuIn/itiiLqg g1JLn1 _fihijni
priPn u mI-qh~n L f (hglby q iwqc cw JUIbgIIL Y) h lf og~ibJIn L--
q J/ L w ujLJ'ufLLA n1L ulwurIILn guIynLg f wufictrwfi g,
Ph~lauI 4uiJfiu4u1i Ijin"L fJbwII (hgT~IrgnILnLfthwbf ufluubflilig
UA ' "F4 IL wjfi iL dlw fiw/uw Li3 r4) c J 4/igw Olt L' :
ZwLJJ cujfiui4uli /uuqlig/i LnLg2 wg ivngnz wduwb--
aly 4ILJIiIJPLIIJ& hb, lUbufiegL_ Jun/ fwquwfig ifwuu itrjflinwr~pi 47
It ,jiinL fiLP i/hg~I g/AIJ /uour J wubL, (hmILLq47u JIf 'Th/iL f
{'r Wj ij~ cup/wu/4i a(r LLJr!/LflL flibiwi wby~wyIjf IL liri--
tpry urhiliI JugP curJwqtfPf frgfii uibulfhL, /147 liguilp /Iirj
7 £LqblfriL/JiLYjLJ g biA mrw~/u 4nhtl2ng bgwwdrinnL/uJI (er'fi"--
bIhgu urfi Lrgwo(fnnLfJI~uifi inwfLbirg znLgg khwinw-
4njLfJPfd 1"11 rtblrL 4iJj-I-Pn~t- ltwlpnLif <<8j1 wnqgLbwL wli--
$liLgwlJ47 (WI7&-b Uw4'w4) ifwiIffL4? rLFWqULJfro qflmrnjp,
6l7LfiLul, hfI~ha 4 lWmwgJJquw~l4u 41!IILL~i Ihgj"LwqhI4IiiIl Iw--
('Lw qup OPgijL.h h 29): Pwygf iJf 4wj Ui/u47u
- JIt I)LU~gdiLJibgut"u t1filin dwifwbLuu4 dInijnini uw4--
33
('4U/uin~j~ OfILWJ ZWLPw UAIbiI(1/ rnWP1ThPf7LjIIL IIWWrn-
t~uInnl,), nPL shIfU/Ai WruLILJ'IP~ 17/4u u. «;1 JwdiriuiJfi I4Iih--
qb5/S fu ulifbinuw4i op If/i UILLJZL1~ WoI/' j(y"uu W LI1LPb J/UnP 4pp--
't"n~ jnL p~i uU7WrsUqi 3' upinb/iqlu/iWLiiIU z
g/Ai nji Unt/pi hL P/ Lquwi jfirJn LIf ((...q/4 LL £jfILiqnlL 4'Sq-
LtiIL Lwrn/i, i/Uipd'tp qgtrjqt LL q5jhb4 P~ ijfrpJ IL JWu7'I~unu
f"'5"' trn~ #/iif7Iiun rnW4Unfi nt7nfJ)), (<Lpuip IL hpqr~u
4njftILf7LfU PwgiL7f IjqUAIU4W~L, ZWjiii4WIitU LL I1flLpqU))
(UrnPwfu ©[ Oppi~IuAfj): 1/grn Pnjp7 UWU4WLJJ4UJIIJL/JL fl Jwlu/ f~!
UP/ihLybLnJ) to"p f/i i IfwfJ4nL/JcL44l urntrnLu, rp/ Wpu 4IiL
unLfIA&J" IL WILrnbdf7JWLbfl 4jnLriw4/4 9~j qWI~jnJ, jupii/
IL Wiuwlub/ l7 po j t""61117IJkLJAJ 417~t ullaici. np nJ U4JnLf U~--
tui4rf"pilurn UM Jnjd 41ifnLrn tLp bPwodzrw4ufi uipIrUn/4Jf,
up7 IL f7 bbpPnj ILju"pLp/i b"Whwjui "i7L Lgfjt/J7p qtflqLJL
IL WLpuip 4 nLp7,pl ILdhL fqfqiu~r j5iq ljWq !W4u, J"L'3'If
«UppLnL /i U'up/rn i', "pT /iLjLrJ LLJ7I nLLIJf~aJ t ./ 7f r b r . 7ui-
U/filq-Pi nrp u4*L~jjWUirnurnbpp 4u~jqfnLJf bM UW4"u4wjL/un:
IiJIIL5r U/1LIIUJ5y LiidiiWiji't JLIFL7nLJf t hpwucIZrnw4rni
fpij LLjG b I~fl hi1jiid, IL WLiiiiati (
Ix ALurfu
tI:
42/ i < -p IL> hnnlfwrtfUUng9 i/iI/irunrtuiJ/iLDP bprnSUrW4Wll
4p[1 tLJIILUIJ, fJiWIL WLIIL17ULf7pp fb4uipJu~fti IL ij-pnqurjW Lul-
34
x fAuPJ
Swiufif7piq rjL1LpnLdf 4UwJ fjgLILA(1/ f L/lJrlf (I" fip/f) u--
fLn~~r[Pt/ (1LI/wLrw0p) IJufi wJUIq&U t /ZOUnI Lunq/v4 ((/A,
. «Rlf p w fino W lUumwuIf (ILi, PwrIiiZftrnp P q/Ap
Ur'nL/21/L?1Iu 9 Ipn ~ , IL JI'-1fLU lip"JOF~nL/Jk fwfJ>:
hb pLV/~tfIuA P't1',1I U (Ii p~/ WJIJ q4LjnfL/J,4LbJ UWzflLt-
ifpi Jwu/4i, WLbLJ y fnLJ t. (($&u' lt4 wa j u' JL'fwL i WIt
UWini[uP/ / JJfiLI 6f <169>, n~p "Jnt, /t fi ZuP <542>
JJWuibwL t~tnp ju iprtwnibim IILfLt~Iyg/u /r dch&- JnusThwurn
P, 4wfJpginlnpp JOin P~ Aii dni U1w~nLtl I/wpqliuhwnim IL
h11ung4nny, np tp bpwdhmw fP fbpwJ dlwJfJiJLnpr brqnfiwI~nJp :
bU1u w~ UwJILf7 4t, np jopdrby LL It<(qSofrJn npumnwn I-/pnu :
Qnjun~u4 dnnawrnq jk~wwli It LL u1wfim qwprlwnIhUn ,
(Iwilwu j7,, 4bqun nvwJ pbL 1JWWW rPnqniIwlfw14 Irt 8ndt 4w --
LtU " nwp~wru /,lfwninwntp I& 4wibtwphqr, np ((Itflbnjg
L witn fiL-ppnninru Iwi dhb-unqop inip vnrft S~lLLn, IL h nnLiip
'injjunuzIinli Utiu IL P; npwrfibL/ Uni4w ,n lL U'bnpnn1i,
wpinp LL Zn~wwnAt 'Lnfrr1Iiwgfi pwqgyp hqn-rLwwL IL W-
J~wl7 rpndJ/L, nPn-j n/ rI/qi w nq. <lhWJ&UJIWnwymL4J qOp
SuwnfiiJt-4"'pnpir 1"JLLIf 'tL 4wj J/~wmIJ7W nL1JPAb fnjnn
(ULZ no1'dfr) J1wnf (fd'npnu Ijwfi nqjfiIf~nn i4nfi/4):
((3injnJ ".if/p (dZlp) [54,2] vlrrhFLLJ lfhA pWdlPinzi IL LUf1LI4I
"p"j hqIF LFJZp.JnJ"1 np " fd'nn 4wfr[nqf nnub SinJngj, IL /2in--
7&bIwL 'P cZnfrp/f i/o"w ,/ Stjp IUwp j-in: (fd't- Uin17PA h- It"
ftI~pnn 4wf2iinq/dnnzbpg P~ 40 IAb ItinnLin& (inpinqi
UJu rpwng 4zu~iqlpnn4JILJ' ,- kjiwrf~unnL[JI n4I &inijI{IiwL
PJi &U qiJ"Llf t- /AipP 9p/r U'intt/ninpnn, 4'ninnpi--
4u'i LL hpjwcI~u Wun/inf j/ipdmWPnArillp: <(IL npp, Pi i/np in--
35
pmub~ 4animnw4wb h hpnwdIZ uwllufi qYJngwJ7J qcfulwL w-- j
&bwj 4wbLLJJ~u IL. jpiLnnLJff h IL qij hlig/dj d1n1IL1Lfiu :h
IlL ~f 7U /il~upp. WL~jfiuJL7pt1UfJ 4 bwflJinLy wLC1'ULjneiwIu- [1
lI1tlbLJI dhJ i l JnLJbLAJ~f , wJbJ qlLwp"7LJ IjwJ p/ wt1J[J jf
/I IUALfJ LJWIL ¢ u llu w/IJ flnfi PL pJLWCi~lJ IL /j~r uwIlu wc~/u
bpsrln5r, itiitliwL JiwipwpaI"igr Ijwif J/iUlfJJTL1JyLntP) (<IL h/J
liLuLlfir wu 4, uJud wp7Lb~ump t uwlLj inhqw4 (wuhrff) jftuuiw-
J¢Lw4utfrwLL# g ui~itwL rjuU, fliliquLifi wLLJ ffL 4pdbgwp fiw/u
-nf IL IhrLnL irJ, IL uwlf wILhL Wp IIUL :/4J))
IlL wLw u~ juf"ULfLJ ¢, [j¢ LLpInpLLJ~/1J wjll SwLJfwf liLL-
Juwb Jf~ njinpWl qtOPULuij ¢ /4 I L unhiliql (</jo~~lpW1JbnL/JIIUJ1, f,
bp1wcIZ ulnL/JwuA, hpI~pwfw'nL1JbuAJ ILL Jf..>
blL lif MtIULflhl Lrby wJI'l uqq dwniw4 lnjflp/~ft binpn-
IpL/i/LfI itliq/)r ¢ nfl~I~I IL p9~ ilL LLUIPwLLI9l Lf¢? ,Il. fi ' -
q./ipub PiLP LLIIJUIIfw lUnupfi (wiuwqiLfn nL~Fu~lnpipfdf"- L
4,), nlpnlJ5 IL IJLlul/ p Lwu7L jLfil, qnpn hpl-/~li ft muaw--
g7/di IfljnpI4LfLJ l pbp~p q ilw4, wu¢ l1Iqhift" &qhpvu'fll j j-
pjiuipIi, lp ¢Tl wrqt- /4ij hI~pOunnLiL/JILLJ 4 li jnju, j/uhif i L&
1f1"iiU4uill LuwunLC~i : fIl,!
u~lb' J 1iijC FLnLl/ J/PLJLWWL4LiL[J ¢ /IL %~wli/p1 "id Iipw-
J/pnu, li plp q-pp~ln IAg/i ipp unuuqjLnu qzplL/J/Lp li ¢- jqlq:
SwLu~tlpnLbpprL luLplLrf Ilq/I ~firu IpirwulIiui (~/ 41LLq
FJ'r¢>) 11pn" 4w[ j-ULnpnnL/Of~J/Ifhj7i ¢ LubLJ~LJ << i/ufiu /Ip
rq4wptg qlui /Lu lig, npill~u IJ% wrffIh "glLlyg Lnlrq if/i p~l7I h
4lfL, JIi/ yw& 1"uf UWpLp tIjLL ri~ 4Uwpivumwl'b UlI,4/bp qg!1- "'u
Ljuuiq wrptl, pwupfwduib w4mp 4mjr IL zUllfipb1/ *1
1111 l ~ imuu Ipwmu4~ 4ui Jiipi 4~mi I
Iq Iruwfi u niwlf, P/L qLI JJ7L/lL, 6n LfJLWi IL lfL liL-
uw&h "flp ,ncfLL I4Iwfli! li L rlpLilumfi rlb4uiquipL'hL'1p pawq--
36
t"JCdWJJnL/Jb-WfJ 14l qpnLll pp ZULf IL , f/itw fhtiiifn/ I f/,pwrwc
u/'I/,h flphj IbII~wIJp/ IL t /WPdwAlfip/i f4-gf: Suwtafhbp~nLh--
PnIPqrj wppl_ Ijqtf niL hpjwd untf jbwji wuwp'~tni itf tonuq/iu 4
tJI1Ll hrc- /j~Uit~jw 4rn ht'p. w1uti-iiwJ/4 n (IunpJ hl" h fun-rt
tAI lp'1Lft L- r /)LI~IL ww w mu i m kpqig~~ bin
'rh II UA fJ4fIfjl/ ILu w"uhtlrIll uALrI if - P lim, 1 /4
wJfILuttJL f fJ/L nLJL ip, W (UJrL~wlnLlfllp IL lJncILLnLfjffJ -
~b-P, i1plAbg IlLqrIrf IL, 4IpjJ17/f PL-P h/IL IL fi f4iJlt4wfJfLp cjh
Jl'Zt4h LnL IuJipf:Pgg wJJIq4-~t i/ur nLg qIIIIuJgyLlJ t p: ljifj. )tu~t--
mrwlni/ tlAinp4uJiqf'f b~u fuIfJLlf 4 Wp fiwyqng IL kwq iTh--
y115 i/wJ iphipg, npmbqrl WLII//l uJfJwuJpl t /J ULWtuwlifnL--
/cJwfpl u~tw 11WLIL-,tLLJt 4-/ni 4wj hv1bvqhgmwlwljh Iq-lIipfr, bqwu--
ll lrf L Wpu~pnrjnL fJALllbbhpg: 4tJmuiw jni/ur wqmbq IlL
put"i wJftJJ t I piu&IijnLI f bputfig iiituiwQ /i ttILbb, fj-pnL~f t wJq,
L-quifiWu4rLkpf 17L wpUlqnj'JLhflAy qqiit.Ruiwngj UfW'1 fU4ilL--
/0JJ uzrpuimp. «(<IIrrpILnlgrlL[jfiLbv v14lrIigLnJ IL LqWflllrR-
7"L fJhrLlrp duidwmliqliiug... if/AIgL 9q/iiIpipql JlwJl'f mhLwnL~
" "pu4-u/i 4wJny IJvfJnq/dfrnu fi, lip kmW plxh j P~ dfLC 1lL/U-b
bWpbthyIL qjulwI4uuJ hl/y IL q1u/uuqfi RLqqJ~wy>>-fu"u~
rt/fpp 4 pnqL Wd uwmrlLfhL4J J4-g:
?wlinplwJLfir 4hfljl fib"+L14JflL ft 4uu LL qdJW/J1 4nqzu izn
'*uIJw:Gju In j/4 J 114 jwiuw4-u IL ujtfuwt~ UJnrwWb/~
' nwn 4- /irn if:
Ufrj- 4hJZfibw4winp urnI-rq&wr~njldnL~rfi hA JZ wjuwpj4
IlLt q/' pJnq w7JtlLfrA 4-, npr MiAi1 4- frnJf h4bhhw4uAJ rJUJUfiy
- IlJI"JLunLgj 4bhjwLI1yjf4l (Jb hpwuo'p~mlt l aLu Llr Swipo--
LI111Ij~1uJnlL1I U/iJ4-tOb 4LwjJnqjt4"u, lLL-lmfPO uj,(rwmp/uu, WER-
['u'Zu 9wfuu7~y/i IL ,uq~Yi,4% npn1 g tulnf Jhiuful~~m
oi1LffA IlL bpqy I f pjuJUmnrbhqyIffJ IL frjwr mmwrIE~pn1/ 4W_
C11- Ll /JiP(j fWPy w~jbm/l4Jb (mu'jLI1ILl5I
37
qijJI7yLllnr Up. IijiiiI1Iiib LL <dLWfJwJ uJuij), 9 . t4flIhiqj
'wJ' 4WijLi)3gp LLIL4wUIfrjhiF~L WJifhLIjyuLjJLni"L oP/ifii4fi If,
lJLLJ7JLLLng uiiiiqiiuii5Iihji/ Iftj JfnrLw~rrwii jhwZ~ul4Ii
IzLbluifh U/iLfJII5/, 3n1/IL4ilt 9/fnLq i/mg qf~mulIn, U wpi
bJmuwZ, bui/iu4nuynu W/i bwu k/uw/I"Ji~g/p, Th7UJL lw4 w
gmjmlndj IjhPuin/ Zh~pnhln/, L~if/p~m wulwnLI fJ/41 IrJ lqI
L"Ib~/ 2 p /bwruiPhufi 4wiwfrnLt1'fibv i/bP~fllwfi wq,--
flL wdilWULULilF/ /JlZLIL /up p[iJp iflnq, Jfnnrn/p ifpu/-
ldwr[g& flLu flLuLl , «/Iuwiiit 7JIDpLL ), wLJnLqlg/-p 1 Jw' w--
ugIun UuquJ,( j -1ni/j/J ff, 411u Ujw J n Li LL t i/4ir i LL ifp L "rwpp
tlhbglitu ?ibAinjiiii1/4 rir~Jq/lLwfrnl IL tjhiqhy/4 Il
ifngp t. u...iIgnidipi 4kq/Thw 4ighynn~pw Difu/ fi uim-
4wLL fUnul hwL/ILd "6"j"1/4 ZUJ lLJIILJri... LulLIJ~f, IL I1LuiLmiAjLLJflV,
pmr i finPm JuwflnLJ fIJ7 oP'TfnLfimJ hppriPi1 4nqif4f, Li
,UUmnLmJ6-W6f/pfa i/fl/JIfLA IufIff4L5J WLI7Lj15b, IL Wu~uiL
9~onu/i opC4JnL[J/ld LL JUAJ4~iPJj?, IL 4mifp-mjifi, npnj
u~ip Luj"" <vl~ m-uJvuop Ii4Iihg/yp IL "pti-n5yJ IngniuiLALJ
OP41nL Ji /LfJ nil hiA j9t"lwfiL4 1pljpa IL uiPmllmi if/i (inn--
b/i IL IhP4nL fdAtnu/ IL if/i pmr mubi571, IL if/i LuiuPhIngb,
IL WlLW.#T ZwlwIpfiI h~ipt wLJnLPU OP(.bn-f/L7J, Iig4iQ1L r-JJ
/JIUi , pbpwmpmfJ/ib, Pnpzmpuifj/, h- bP4nL ZiuPu4mb, jm-
PnL/jO'hmuJ (SLJ~IL, IL lopi7JnLt7UfLnlyftJ, IL 4Phpnm4m~ujwymtjk
"ei"'nv e~u~t"frf#f IL "'JI puiqnLif Zumpm4mbu: Upwup bw
qpmpnrrq uppnj uf muipmj i/ib ,pwqgyP IhqlwdJJ4wL IL LulnLbru
ZLUPu4uibm5y filf/ibr /ung EPhuPu, LL IhP4IL qlwmbd/" gutm 4 gng
wbfnLmbr /iLpnJ' if/i 'mprimmrn/ib IL if/i a in/jui ub LiLn--
&-m~rl/ib, IL nPutu lb4m5/ib 9gP/iupip q4"JLLnJf pqu-u
mkmbbrf IL gh I4IiqhyLnJ IL qunLpp" /Umj /i. m'Jb up ig.Phmg
qqj/ipu mqo f/igy jIoq~iuumb PmlL/iL. IL /iilfmIUrnmuipm4W
nc6ni, IL gqblinqbmbbf uppnjbi 3ui4nPnj J' qAJLLugyLnJ, IL qw-
rLWgbjnyfb , ymbf4mbmur1n/ mnuLq, 1ftJ1° joibfih t /unugni/m jib
qpI-'I iftf 5flL5Lwi ntVib~ 4mifb-ifmm, u p f/imbqmuimj inwpphp
38
9 7fl t Zf/i uiiir4wifihi f7 4WqJLLIwp/0ZJ, np ifr jW it w~ LIJl-
,? bjqui4/ LL putmhptwqii fL~~w45U1L/ILIL infwpwfiw--
1 4ufi 4u, nfl nUI~pZfj1/i IfQ2 pui5W JUJlJ t: t linjit Piii/~
dnidu~fwau4n4 fri j kf' L'pLIffl"qI" IL 4/igp uIfttuPw~zwflI7lL-
. fJwftuAiL bpflWJlW4fw uflLTJIu1 JQhZ bqrnrn~ flhp LJI-
(1 L I4 L JJ ILr J P i u ~ w74 L U h w 1 1t 4 1 )nc u iifJ /nu lj p I u n u p / iu u l /-
- Jwu fifi J/iZlLunLLJInLJf ' IL 9rgnp UWriuurpnu'f5:
L SuL~fl4n1b(7n J.q ILL~fnL Iif4fln1IfU fti~ ~fPL 4~1/fUw-
- tJILlf t 1LiwrLLnnf Swpoliui~jil (4 jwLhiI5l~J), nfl4 Zwrii&/
i/ulb piz2 ~~f1iJ t p, if/fi unrIi IL wrILip/p4bJ/l, qAwL fclJbJ,
bii JfiLfiLflI bpwj~inw4wfi WLhlLIUwf £f7 4"_jQLI" LI
Jw~pf[, nfl/ i Iauiu/4 LJUiLL u~l 4/PLfi41nU 9wiiiti4hg/if. ((l jl /
L m~OfiinUfrnL/J/lLfJ UhiLPUf b4bqI7TLnJ (U fj uILp I~lf f/LLpfl
tuJLihfILiJ I1ui"uirnnLfl 8Lrlflyi5, Wt LilYnflrt uLrpf nL/fuin/l7
17F 4ii~/i 4wrLLJ hi~LIP/, LJrf uflLflf IL wrctu ii/ I7hlfL jt4n~JIhwip
"w41ub wj, dIfWi 7JJL qLJ j (IZ WWJ41nJI LU LLfnL bi l"fllL ... UI h--
It plip ijf6uili Ai 4nrjdiwbiu JffhILPfif, fLjuwflif/f1fi bqzlfw41uu1ir /7
t Jwf r fi i&i,j4 arrfLswLfrl j/frJwu iny, 7p qwuijfi chwJ'w-r
In1L4 jlwly >> ii~u~gi~U/ull~lUnbIi~ ~iiiyI
/71-iJrvpwfwg..I hr fL fLfn wau2tfm I~awifll Awi &wp wdziw-L
- nLIJ Lii 71jpfiw~ iJJ U( W7L woir
f nPlhfifw fiLfifr hr"filL iwriiq crhijiiw/uw --i
r 4h f
- ' PIjflcnLLI L UpLqcj fwfi~ nnLfsr k fLwwuf Si -rfloli Si--
ltlhuu, nLiJ' t F1JLqiU wirfhli/i hUn~nflwrlt 17Jgr
SlulbhPIhfnflt 1I"~FrlElJ, 4hLP4huJnLdf, [AnL ffl/lLr
4LiJrhu~nnLfcJhwu Jfwdwiiw4 lUflgr4wqfrb47r 4n jLrn lfbbi w.w
j'T ' w .Jhi/wAnL d l 'wJ urlcI' mnL hiru 4h tfnirmuLI4b:
39
Lujrq i pnrLfgfL t, npl «CJJ1IpgLJL , wpLJg/np Li pg ~jw- 4wu
5I1Lhw1iLJ, Fiji jw wfiJ WbLJAdjiLIJfLJID 4nj ri, hiU h Mit
J/PLLWw4FiLJft< u wpP jh-pz pigri r, J1ti4p w'jj pwqdfwqui hi-
qLLi4J4op fr~fQLL4JW4 LLJJJLLLI'Jj /JJI"MEiP /J- U4JfoJ LL fflL--
UL/ ygL _ - ilitu t ipT L~rfLU LLqLLIbL UllJ7LLJ#1Jfi bqUiw4w5gi /UU
UlLIj4LrLIY 'PlbqjI f LfL ): BwpuII-h~h (dLwgnui/b Qiq/- (ir p. rL
~iw4/ i boJF,"urunLri iii iiii4 hIiqL4w~lJhf r, / jPjiiib-pbi1
wjLIJpJJfID'w iqi7jL, T'"J11 1t~, Lwj Ijufi, 4flI//PL i I.JI, rnj
ipiLfLIl , ngp lipwfirg JL-Ii& wuf wjiijwp~/ hqwwu4lA-p i : +0o
UI~lL JU lpn jluiA! jILwrij mwlp" him if/i ZLJ pp L- jwo/Z,,- bL-1
UIitJ J hi Lfipplui (fniiltwi 4hwb rw,(wglijliHw,), iuI ~ y cw
LY/ , h i. <t jflbjf fi b UIfuA LL J/wIpif , hi bpnnhLPIu ijb- bl
Bnqn"if (Ilp LAiwJ~ P-i/ni bin 'AWqwjibY (i EW /uiF Fiiub PG-A
blijpf4wih fLLiJ1Iif rl 4 Lrj~ J/ii uyu' «ljJlLLLj),L~ «i/l"L-
Jfwujfuni IL 1ftIcfhl L L U iLiLJgflb jLI~pjllfjqiili Uunj 9yiFp- f
J117 IUnLL, /Ip «hL(17j1c qguLhlffnliji LL qujw4wubr ui'1i q~I JW- pulli
4uibfb, rp b"Ab oLpbw/i 4nfhi uL4Iigf... > (dl flunLul b, b'L't
517), wJUfbibjl' n7plytu Zwpui4wbbhpL7 4m1Pij/ tpJZif:
x "'"nJbr, (fb LL d~li r tuipuirfi fJ' 4 "qihinj hi fJ ' uwp-i tU'.. t
4/A b1+71 I~rpwJ LIi LJhwII~ hpi r~uwg b lp/i n L hp7w l i hi S
ZflLfl iffij LqLLwJLL 'qi/l 'ip/~i Lf'- 1"r I~LLJ 4urnLp whqrL LnL- $ uii
~J/iLbbbhpp ifln/FiLg jlimnj bwjirbp brnp LL bnpwqinJbt ZLpwb/ib
~,fl b/i~~ff~f/~1 :;p~~P (I
4wJ1w~fI~~ Ul~iww4wLbIf7r ? 4 ?iiJwjpiLLnFLg fhirnij, If/P f
40
Jwuu/irf' IirjW+ J/Pinnw~n~uLfL j lL ifhqr wkl~wjw lit:
suuWLJIL IL)IhpnpI/L qiiiupuL u4fljqj!y lhp, wJaULtU Wud, i/hl i-
IaPlnLhL b L Fujigp fiup/iy L-lLiJ A W~ItlLlf iLJJ~LIIJt/I w Jq
6/ILqp dJu U-p mLnul/y, h-I isq mljhu~jILJ Glip lupfft, nil
JIfUfy LJ~LhwJ mnLwck 41j hLpiatlzpj IL /uItqlipp bnJupl fpwuIy
Ip4W~L~lp fIjJfip-fl 1L uuL-r Suq~jfprej19Jihpju I~f 4 pwuljpuhrl/~a
F PlII J ~q' I/LILJ(11L U4I1LJf 1/OfUnlI wujpnqlr u/ipj".uinE
;w~pwpldnL~p LJ i4wLLAJLLJ , L/iifn iihuli ", rip c-wbofJ tip4/li
gIwl4wft i bpow~fUu4 uflnmliJ/il, p~lp7jnL~f t hiO/Jp (41n Lt,
nr&, 4bl6rwtIuwrL, pr'b4"p&, Iunurn4uj VI, ljppltwl utm--
rflj') bulitlt-Ip'p LL 4~uqYfLf wJ 4w4wfi c~wjb~UllifpnLJiL hwJ
4o, k) 4k, FtI, luo, %ki, LtuJ--P uftuinlij~y0, upj Jwwn iflt ouiup-
WrjjpuLJf hit wJJJ lufUulhlfpl «4WJpJlPpUL~hLLJfJ wfJuLfJul/:
JG-ut qL ~uL p p fluh L pfw J flip 1j LL wrl iu ui d d j (et u -
buwr-phirni/ IL mwpuclwbhni/ WJu l4iuJ wjf, '4nriLupl IL wZftiiiiui--
EtIl7W PU~JJZ LpWyfrWI~LL fpWLI1l-bPg.: UJrl uflim"'iv JPup--
IfLlf, LWlUpUJ&LuLJf t IL /p~f C-l~L~Lmqbl-pg nIAJIAluLJ:
4 lLJ I4Iwkg/i qlil~iiiwp LL 4w iiij LLplimpl/ gwimwui/ fpufth--
bh4pg e Thnp bbh qLJp4IlLJ nunLflwu/lphrL wjt PEugn 4wf--
UJIpLJ, wIL EL1I i/ 'AptrbLqh b~ Ll /lPI7Ld, flLp 4LJJfUJl~L~lf
aIIIj~J IwcponL/'JhhII7 gwuhp tp iuipfu: Lujunil t7 IL /ip h. iujfi
l~i bp4 Luq U'/4fuwu qwuprf~wuIhm PJZ4bu~f, upl 'LppJ/i,
g u Zan MIJYL& 4tpuuup4f u/In] IiLnu 7L tIhp pnprf-
uIPnLftrPL/ uuioiubyp,/i mi/~wuunu /huu6fihiuui', tip wunlpt ~nJfi
l~pI7I4Iupf qLL& floinfthbpnu/ PbLP <lAuw-P 4wuJ4w~wu
LIUJJtui j-1pL/JhuAJt> hp lfuuu/prYL Ji PLu t7 IIJu pLLtt-JJnLJ5
~4 bpwur u4-p IL juujunb14 JLIJwJIJJJ~F47 W -Inpq IV 4gw-
[071/d ur j uIIwUfthiui wJUv pwq ojpthu4nL/joflL~IgL, np whLq/
"1LfJ/ 4iulujuuwuihiuq IL-4LiqIhLuJ Ef4t? uulpphp u/uui/plipuLuf,
41
dipnb.W~nl/ I~Lbf 7J,1Pl lfppWjI17L(J/iLb Iif ih L IL JLLlip
dwil i ~a/ui/ Iflip Zurw l~i,6ppl L{wliwJJLcLpLLwifI wiiLwj jpiit-
/JIIWbi lfp4fiiwL, I JI/Uii&/4 t 4PLUJLfr1n"LJ WJfj fJfJi 1LLAJLLht
bpywcI~umwqtu, kLL61&VIb iLIJ" /dt" l7LI U fLUFLph JwnuAW
I- L~ (lU wJ y f'qUiiig/4 IL JJlt irjij cL wp1 l,piji i Ai lw wwgu
WdIM, Jwplflfwyfinij:
4uP~ ri IWJII W pJLtI7LIC 4w j~uw bp/i~ IL j h j "L. i Zw 1iw
I wilihpfj, Iqiijiqii flL wpujpfllnL JpcbLJ bjp LL wuiw mjp r[Lpd-
Lwp/ ife iiifuwu~ii Vp/i ujiiifLqgL 1wuw1wW4flLJ ':
wuJ4w~wfi (ZWlffpwp~nLIfhWb) cJ J17 7L~ fjiLfL~r
nrliLupl bpithp/L'f WJI iqurinfiiJILfi4 djWmWpui lf7f l LflJ, F-
inLr /JbpnL flfiLfi f~hpni f w - , ujwp ua-wpfi w pdu [ifr i
~4 Wl Uli OIWJIIWif-lluLtJlLI IwpuwLnlinLytI/ wnwp.L,
4iwj t- rf)LLi~nLlI [Jt" i'~n'w runngfihp ir IL fJl#- '4nz-LnpwLuw--
1JnL 'JJLJY 4UIiifuip: 41wp7 c(iilJLiif J7 I3'Ih& QiunwFPFPpg--
tl j~IjupJIginiaf wJrt uwi w j/ ZnLfig: U'I L7 If/lLUIJ
bLrnfre IrplLwi b A iu in'uJlfwl ui dwjfiwbpif L-,pti/ inlu-
4WlI) hp~ru W wfibJ~p55:
Uuul flun j, AkuZ6hi fipl7LA-7, aflip " L/ip AIL/J~hiULJ jpw-
I"LLI IiPUid~anwlwaA UUwplll pnL fJllw~J EjgL"[I4g fi 4WlpUi w -
&nqJ iit bWLnlnL fJ f7Lui, 4cuLJ IipiiidZ iul7nL fd lhaiiJ7 UWidi7L JIW
4uJ4w4ufi bFPWd~unLfiIIr~wb Ef4JiJI1UILUILnr Il ~ WJliIJIU
U'Jjl Z172ip fungip1 Jh,7WZLP217fLifg7 LLMU12 t plpLUi L' IuZ"u
Qnnwu~g,pppn LfJbi, IL tiwnIgIihpl f/i um7Ling FpUjqLYEfriLJJ b~
6imuwl7Lp jlPLw4LfilmJLi7JlII 4w~iJ CIU1JfiUJIflrL/Ju fhwliqf
UiU.14fUlb4in Pplpw y ThI~lqwLhuliiinw I A c~fpnfl Ig &IL qfin~w--
4Lult ~uQlwp tUljp pLrf L-rL SwLI/4L[/l~LMJA-pp pLLuL-L"~L
wfi'~pwJdr7 ww L~L~if Tpr1~lti fl ii4jbIJfLf 141 iii L iiuiLflp
wqZAII~p 4prlfub, £JtuL7LlruunwlrAI I1I11~ifbijiP7 IL I7L-
UnL~flw flpntif wmil t uLip4uib hIm~nIiJ4UAJ IrpwdruwnLldkU41
Lwj A ihu winuIp/: 9.wlihP' iIfuJL L-WA, /qiW7rJ/i /'k' I'~LI p-~
42
1_hurwwftLLfdt' r1/unw4wJi npnZ flLdhIlrqr qfiug/rul/i I pI w--
JLJ yfJnq IILrjI1/W4LLA hgwJFZ wI wfi afu/umbJfL 4nLL mnLpfwJ1r
uj (wJw4/ jr wbuaufi 4hIim Igbnt uA/1r fpwutjwpwi4/uj
Itn LPrUt 4If frp7nJ 1/i... I4LLJJI JI JAJ fwjiw~lpur4w f r4 Itrt
pgl~ ~ipi~ i~nk,11p panfih jni/ fr ~ pwu foptl /uzp:
t1J f wJ,ftiiwit~oi) '"frt'ee n[' LLI,4 Ifu A . Iwindl, q, Jp/',
IInL~wnL11w j I /uzJu,1L w j1pULflLlIfih/ mitwi LL fpufi q.i/4Iw-
q1,IJIIL nLg/1Z L J/i~ny t4wj, 1,wJ5 IfJ~T f/iwjfi fnjf, /uwgwq/,
f lLLJ WLI fr /1q ll,1J/vn5y1i~ ~i4wij pb~: i,JuAu 4 W4LLI~flrnL
cflbuji Lfinfl~ r qnLp4 4IJ~ 4~hhufJi t ffLIIt IL IlLft2 uq/iui/i
4/lL(lgf.Jwf/p ILUJLtf inp/i uqq/ w~Lit /E- pwU ilLt Jq ufruwIn pf,
1IL iJLL 4pLLf)JhpIJ4b: L~ 4ofiw/wfr IlyqLhulLLj Up1mjuAih
ee / l iiih If~ 1~~, J/ifwnLJwJfwfiw gnjngr t1/nginbpni/f 'df--
ft''f'h~'ft LWJg LLJ,1L iLfL ILfLfJ/lI1, LfiJtJopr 1L 4wu11i-p
J11f IlL ftg git piw/uui gjf "I/wj?1 It JLLIILLP plihg Lf Lu/IflLWh--
ZLJwjIwfui£ LLIJ II tt flLfi L 'hf f1WLI7 its bItUIILIJI 4'LI-
ui pnwiming fd wZ &bw7fi %wff'ifrI~uri w~w/lipm U". bif~w-
ltbt'fnrp wpfrf.Lif '#wntrtt Ifo7uhkpl/wmopkwjn~if &cw--
pui1hIL p b1L prnqwti71/i 4wtfp IL iw/nwgi~ 7rpm' 4? 11JI L Llw-
7'l ln x'IY/tLIIAFIJwj J 4U 111I ll IJnL[J Ii I Lfl1 / un~f/p
tot IILbf nL fJ/lL71 71kji, /'p<i w frjf ni JLIJJ7wJ fl t 4t' fLrJmnU
1'Pi1 III jnL fiLp wuII1LIIJwL1LII& 4IlLFi 4I7J, IIJf IL LwII lwIJ 7LIJ
#Z4ph1 71pui7 /f pIL t4b wfujThun pm71 /b:
UIIL , f~hj /1U5//l f f jl-t JIUpIIIILfIL I~L7,,LIJ' f'1hiui
/Ij hu rL fwijpw4tL,71 if/ii57ljfr/rjn qlflrf, 4?IIj1LaJIJ UnlqilplL.
P tJ iL71,c f 4twipa~urbfippfL :
LLpLhulm/ fi t/nLllw Iffu7 1111171~f ILIIfIU'lL/fT1J qZrLlpIf wjvj.
14th IL utIfirb1/i J1fpnr q7111pp7' Ih fh&/ip/i71, wt p"wu/n L-
JJiI7,drni 9 /' 71L/pm/uA bf titI5IILIJhkpg f1 III(I rl jp&i lnL71,
tfLnuj7 Fk qffifwjpwL~wuAi urrjp -, umqfib IL IfrL 1 f fif h".
/inqL 'I1i w /l W ikpuf" if g: Zhiag jtpwbni/ &1f pIII5III~tpL-'"Lf ,
43
hjip bLgnujpuuti/ urWpifl j rLWLP~71Jr' 4111171J.-lfnLf11ju4J,
PLPp PwqtjfWdwLJf uiwmwlUPWqmnil hI~jlLL t (x9O-WIIW~I [JLw-
I wuAfibplft) I 2j/lpwhnLJ hjfwpw~fi Iip117wJZ unL[h-uAil 'it-
Putjjdn rlLf j r~, "P rju~iny/ ql p Jurbd7fIhj tP JfwJfurhw4/i LJ-~
LWgfLtulPf r~lQ i'pfihy lf~t1 /4 Zq p/~fj Bui/'uWAt Uu11hilr[tIui-
uiopfliA, frPwLlr~7 /4nh/d bhuPwJl.uwr47 ujuuwfpmLjdftu jLU-p
~1;uhwftp/Th npaq47u hPqg--bPwJE~mnLlrJhwfJ I& ii~w~j~?i flL4
4nhnP /jdPw4uf il"Y "~1I5i~LJhriLJ rLlLuuMJmn-p:
bldwuihuwfi, 171 mpriti "pqILuulfuJ r I7LbI71tp Iin111aucfwJfJ utc
,PwflwdaJr I4itwc t njwumwpwIIP 'i P~tphqLJWPf1Lr I& wpq47tb
JWfLJPLLJPurjutLLifL '#lipnj-jpwrj/ 4wJng l4qig rnL 11cwwPrbh-
Lf PUI7W4 fi'-J4Th1p/1 t flnhljil 4rJhiltiiiiliij Iu Ill"1'%~'t/' lL
hguj I~ut j 4wuf~j IL/ IWnqJ/ftyj, lnpdLJ 4 k/~/U/f n
,f/LLUJp/r WLLIIII IiI-pp, LJ fLU luioiq47u U~l Oph- w~wIfjip Li
1tulnI muihjfl wrhILfhngrflq/A: t~Liupp fu JLjjp I74Ir~yqI"LJ b4J ul--
1buti/p qjhijw fwp"L[JlhwtfP u~nluuUmw&tu ijp"Ptibwi rpulln-
,tf/wJft r~rh n~nL f~fLt IJILUg pliPuLtf, UJLf 17'JqJ1L14LL11r17
1Pw2fhg"LnLJf 47, IL 4C1A15 ILJhl 4uJfJ1lLU4 p ZJnP4fl 47, r1p...
WfI IL bU7 l17tj~r qLlpfjl j IIuf/4U41I 1 nLPto~buThg'2a (fitiP1luj
L"1LUWtL1117 UW4Wtf 4wL-1ppi 4wfjnqfr4nu), rI/Ltff4 LLAJI1LLI
hpfpuf 4 uijp/ flt IL wrjq 1immcdUIJfJ nL ,P1LJCIJdLIJ. ufulmul.-
pwE mULUjijPln L [JflJUL11JrL jj LI 111r aM rL4If: lpp flb
ZWJpilp aPL 4unfuuUjJA nL[JbwJ'p wuIJtjhhp( QiurILhw, 4ofi--
,jiu4b 47 ntlijtifflJ Wuuip 1 b4ffw~hwti/pb. «-Pwfipry yw4mL/i t
Or~pli~htypi L bpithl~/li gLui J~mffucuw4ii ILtwYwjF5
fiii4 q7jfllli4JLL LfL fJUq~glJ, nPn'j P1u4wujt7 ~JU ,YZWb~L-
[Jp1L7Jp IL "P"Z dlWjf Dj~JWpO"LJ fl du,7i J~rAZ IL tfhfr~ WtLwJJjilI--
f wlP urLUIILfhpt j 11'infp,'J iijrf /uil D, /77 tS'/'Zui wj~jLjjt "It -
44
LJUI1L 4r111/L~W4WL f~ Jj~ mrwdp pliqj u,:iwjIij qjwjuwuinL--
jrrpqj~ip IIWI1/1JLjwdp LumI dIJIL J1IIwu I- hgJ inwbi wqqrjuwj/Mu,
q,/ pwpbpwFi dLinAj -"t-[Jhtwdp odfu~irfwl1 l,f'y/'u'b ph~q' w"'/n
IJ'wI+up b4fwuj1IILJJ~J/ ILJu 4I1J"+"j1LL/ L1JZ J1uL1L/J/1 r~
JLAJ911 t ur ILinL uiwitegliL If/' Iip-L p wuui/itWj fi ub
W'1P"'r MIhpi'"iuiAr~jt f1LUwL11(1tw4jw7J 'Apfitj ng U'I LsrJAUAJi~w
1896C /J/ L1J/n1JLliA1JLJ 'LWi lW(UIwfunLJ -
Jj/,>: b~jfI jhurif 4IuJ1LbJ IL 11(111 q/i51U1ju1i 'iI-p1fwJwujrYinq
4nqj.ILnp n~nr/ pwqjdwAwjiwh (IiLpnujiup"A d Juipnc/) ujuw-
FJiw fr bpILub~ twqj' '41uuip"J Y ultwmpg L it p nL(1f17Jh-
jilk WWIIA Ul/b UlJtb w fuiumufr p bpr, npnbgp /i wgJyrpw"--
Lnlp IL wLII/f1 711LL11 ubfU7Lf fL 1L1wur11(1ILJl1/frL7J nL~Jhgrr1q
"UwP Lwuy 1-pv/p wpqgwnfip W/i: Z IwujwwJI1WII/1 pwbJJJ1Ldf hId
""WjlLL--PnLrgjw~ft (41" ql uiunL!), .Qj/iliqwphuifi/ (wup4Jinw--
4(u, IfpLL bpJ/LLJJ1Lt V1o j unLJ), Z wJrj .QI1(lh h L1Uf/ (l~np
tw/u fr f IL M f) IL UJ "y j115 j f~ pL rJL~I wJb UJ r j U(UW(Wflr LJp w j11--
11L/fJ/rL1Thjg(, /PpILL 19"jL hp-fLLupF~nLfJ1LfJYJp, n11pfl jIdJ
4wpjnrj iT/~wbii j iiwuuaituJ~i 4w r / (b4Jw~jb P) 1fp5r'r 1L-
bI fw jhwb u w fLiqj/ mIJWPLI j wrp wpFljflLJi f LbJl jIiiqwi--
uLiJ~~i L df/ pib if Zw7uijbubip, /i7Lj~L uoj1/dJl L4 4-
4 'w , wflLr ujwnw(1wrLr wrzW LjfflL nLJJ wintLU (80.-
"(Les chantes Liturgiques de L'Eglise Armennienne) <uwj
L 4w~dp~: ~uj4w4ub h bbliguuwi bjii1Iqdi wLI-f 4wpwrpu.-
fljf4LwN IL1Lbb A /r/upJuug~uuAbip/i down U. ZLIwgqILJ( dL
"'~Ji~ wjb4 ujwprq ujuILl awnh, nr (1kJiIi 94, Lnjuf IV Ijwn--
45
IL L7q111wfrwgriihl 901~n1 17417 qji/ii-p/ I-pI-LynqznL/1"LbP,
L' i ,4w udu 4fr~ lJ'/u/iJ(Iuig Lpgw Cop I~~fiw L f iy Un L pp 'Lwc-
quip" P1lw& 4wqng 4/ j~ brIiqguw u~llrw~4LP UIIP"L-
/jrulfpf~ IL LJiwprwuflL/JIwc1'l, wfIJIJllpf "J 111 17 4Lb- f U.
'L w luP L If:
4n7f7Jfu IjrqhinpW LL 9'pl"np Wfipq'lwjhwf UhrL)Jp
uij,/. nLq/ JnL JIlLwjfp #n"pdlhbp bIA uiphr: Lbmw"/1Jl f J/ piuili
41n1-Lnp 4Lnnp11ihipg Jw~~2g~ I I LlLI flL (t/Lf"L~l1flL/jJ/lLb
'tnuwfi, wJfi ujwLupq fLfl m J1Lfl1/, 17(1 fJj1LLAp /jfpIL ~4Lwrtp1L-r
4wuJ Lr17,I-j hlL LuuLL4W n/g ni lf/1 bin, (17141 t/1 wuJLLL
bnzu rif ornu"ip n11fLppZ1 n6 /" (1Lrnijiihphit) pnAru gou/4
rn/prnUllhrn7~Lf4AI t/4i lLff,ILIJ' ZIirnbl tnUq 1wJ 4I-~ILnp h-
,"pWcILllIIL 7luf 417U414?ILLI:
9'. U'/"pquiJhwfl /" bp"wJ1ZmnL/Jhufh 4nflIIL11( fJLfLL I/
wZ /uwrnwfqgJpl61lg tflr1(7 1blp IIIJ4 hiWufi <<9q~u~L-tLhU flIL
Ilyl 1,, jLLL1& (ptfwlwdwjfi InpI-wLL1J&) j#p/uwnnu /i Jft ifbp
JwJlLrLUJLIL b~IL-miw/l nrh'uAfit unui wrL j/l"L «hP 1/17(1/4
'gncuwrt~Lfgx: 1' unfp lJ'/pquqhiudigt wfir~luwfiwln1/ IG-
p~tflc1L j!7iLL4 Ift?. ILWIn wqi~iiijf n fl L lLU~I Iupulnlul-
LWA-~ /J4 WJI~ It [1J[Pp wi~bijj fL1LE~plJfLU& Ifnl(l"5 ~puirwt
JfouLnfhnLJf, wLklLr/ guiJUnlf 417/71,177 bjlILL"Aj Phi4i17~nl wiqiw-,
j/4fi 17pwdZUlnLJ~rhAJ j1n,"nZ, pf~ium/i~ Ijnq~lflipe, Zww
qltu~LphinLJ1 J/luuinlni finfi/u4 hp,whIZunLjo7uAJl J4? ~Lfl lub-
LU1& , pufWi ~u~cjuqbLufL lnrnp1lql/4(J/11A1f fILl...
1LulfP4 b/N hS1kM
L~jI"JI~i(4 f6pWdJ111l7LfL7 (1hLJLJLLf 17 IY lug/u '/n-
Ln If 71711-," 1/1 uLwlfl rn~uw, n," bp"wcIZ nLfJrhwfl Wt unp 1fi JILf1 t
fJlu(1IU1JW1Iff7nLlf, u~nLqlL4Wb, "P( iI/1g/41 id, L L umpnfiw~jufh
n, up WrIO (1711dw 1lj h1Jn~J ulrnu rf n&11Jun&LIJ/1d41i t-:
46
N u waT 4jl wj
MJ w wL (Jnqn1"IpIlwi wAr) hgI/Lfl /hjplw4ti wnfIjwm t,
WIJil bjpItji LLIIJILJLLI U i, UfwrL(J fiL JUurInt t WJbJlif4, /4iitjtl
q/f~uwlJ LLIJJwJI 4, fjLLLJg wJ1JILrLUw -JII1LJJP/L J411ft cfhLnlnj 4i--
jq/dlUJl LnLlf t, /iW'J5 W'J7 J4fi pJfiAJ1J j~lUlflIfj&Lti-uiindxflL-
bb~jij ttwyfIh&n,/), fl/ifl AilL t UUiLuaJi7Llf, fl/i JfLftJ JLLwllL4f 4
"jq- Jn"AIjnqI/J, np mitt diuizg (fnqlnl/Pr~w4wfr17 E) ULIJ
IIPUfIi: hIg J5 Iflw 4u"ifwt i t, I Jfnjqfp hi'lt1! fJgw nflL
5tIJlnuifl~ ZUJiIILUJUJnL j Lll/JiLA t fJI7/4tLJ1UyLJf: UQpq -I-1tj
~lfiIt~rL ~4 f,,p~,ugn~u 4, A/ w , plff li, urlnfyuJrlq/nL-
nLfJip fp i <wdwujww"IwufLTL hpf: Ijrpt OP7i~lJwl 4I- L-in/1
flibp' J~wph1IL, g1JwflLs ./lIfflL mUiffiL: b1!g1itl' 5u~lhtnL, P"'-
i7A1iffL, Cfic li, wLLiLr wLIjLnfL, IIL L IwUhfnL, 4<ufL'~~j ljjili
RfL, ?[ UwqlLUfP, (Lug 1fJUbjInL, (OllItLI LLL(IpIffL, ilLn y lIr lL,
UUWJjILZ /1lJIMn, 4lnm 1l IILIp ~l7&I-h filnL, /MlJ 4 T/i L/hf nL,
$ilitUf fwg~Jf lL (opnPjLhhp), L-Pi~xf~hxj/i t1ilqh/UL, Ulij/i
MJMbjnL: Zw1thhwibl4y ifr"uw-(wj'u/ r1jpg, 4l~iUbp,("Lnp /l
bwLJi LIJfilL, 4ii/u/i (g'PJpfJInn/), nqiinj IL fIPIfTUfiL--
4wlfPLUPds~fuAi, I UILw Uwjip fi) IL wjI, ILai:
LUju btp111!r Ixrpu7Jwl7hpp/ ilLLUUIwUhltrlL[Jh~xwftr Jfhujw--
l'raflL IjlwtLh f1 Zw iiimqij, wLrwLclJILLf4LttJ nlLLwjILiJILLA
WpojJ ~fl h11 4nlfflUnUJ J/uqtpujb"Utnig' 4n1,1 f~ 4w wJ htt1/ IL
'P ZlLuwrt il q9K 1I/L7J/lb" f 1' 4nr7/jwUw4wJJ I L ft' uwSltjw-
%L'J b&PI h/i/ 'nhuw4twn/i: cJ,,qnnj7jw~wfJht t/i'f fig WLWpI7
1L 7" /I/i ulbg y wryh1 lnL (41wJ fJw /i htilL) myhuwIl4 uig npn l
WnALJnL/J/i ifwumilLgh/ 4wLJ hgrwt'/Z Iu u "4 / Lb~fh/ilL--
Ill/Lb/i/i : IJl1 1/LlgrnLJf fiuwUnh1 hIA fIilLAJ fifwdrLZlLL11fLLwlj/(--
47
5/i Uu hp/qti U'1i1/iPhuewf .: Jnqn/(I~u4wAJ IiP1gj LI'UJ4 /ln,
fJIhPqfWZ,)JU4I/FL wrU ffe~4.,.. ibigdhPijj UJinLJ' 7 wJJrJtnLgubW
4wAplJWnLPqLLJe, lip/ qhpg 1Wlul jW1nL~f t nQ I1IJfJ4?Uf lfzul4b-
/lnL if4, ri1p pwAi JfnqjIii1/ fLwJJ /uLL-jlf Lf47g pJJILlJjJP/
ltwqjwL/luP LuiJpLJJIhnL:
.b1if'wlhwAe/ wjil nLqqnrL/JIhwJp pml LujlwjbIj.J)J liJInlfL-
unhlrltIl Zil2LJAAIJfePflL &L ch1jI/I7L(7IuJI/LLJ h~ii1/ d~IJI/IL~fg
",rb4pwJ/Tpn 1heff LJlJ ImtlfprinLhf: UZJqL u~l~pwjhipn tgw~w,--
f fpLwLdwb IlL fILwPLLdflbfLL4J lipo qwifef b, 4Inp4 t wwl
Jhn b Jugp I4L hpwnww mjitwhp/4i'b lnifffiwu qIp--
rjtujuIiuib IL 9#liitnp U/iLI"Lf...
4ij JnjJ LprtLIJ4uIAJ hPIIP Pweq tfulwJflh/nL 1i&/P ZlLpg J/&
iPfZW im' f" # 4ii1fig wpj,?i np"Z Pu~fi "JULLi/ t, pjgJ rfmW
I/j~hl t fJIhp4wJwgfuI1LJ J~nqnqfprfwlufi pn jf fW4i~ "'PO/ Pwql-
lfl"IwJb, dilrp/i 4wafWp ifhp~/4 /uO".Pp
JwJuLjoLjJ/L7 4wqffnq hpufwujnwqib-p/ij IJLrL Zwmn wUhfi-
ubL g",bfrP fIJ/ IL I/JUL 4nLlf 4 Luhi1 fui~wf1 qhpg/4i /uOU'g
UZn Lrw~u% e Iurm nLtJ11Lb
qAn7qf~wli bpj fireki jliiinj J/h~/i I/JLLphpnLdi... wn~w~ f h
SLLwqLjwuwL fIiLfLr Jg 'f' f'r IuipII1nLrJ Wjbipwfi t qw'uPj_.-
fnLif, np finjfi/iu4 ugp jZL-4uj/wg 21pwifihpg7 muhipLIf II
1lguwiivn1, friJ uLtU UI/1 4w[jJnq/h4nu 3nqj~wue ieu AL1 4nLPuYJ.-
g rel rL ug ir/nLJf P /JJJ~pJJLnPLg: S wq U hwguL [J/lL~J fi hhlli L--
frlLL4LLJ 4 rJ/fiJ/JL .'VIII r~lxr ulwhfr iuu f 4 q~wILnLiJL 4wj
I'PTLg wrj 4Pgoliw4uAfibipf fUg/ig - 4UfLU LJnfLfJ~4L J/ wqw-
mihLf L IL Pn~nPf/4J Ju'wi/Ji1/ , 4hIAJI/LLL Yi/ fuoup rI/wplilfrh~nL, rf'14
/uou,gn cf' frngfrgq nqj[Judi bP1hg/ hr pigg j/Pui~4e IL-
gU+u"uj~blfnL: UILLI 4 I'LLI&1L fiiig Z fll LfL uJJl~ r-wUjqLLi4J--
e~r /ig J4j fJ If feg f'nrUJ lluw /7-17Jnwi/ (XVIII 't,) , jbuenJ L
t'ftg/ijrg" (X[X It), /uIl 7flgL~hwjLlf Z7jwLrLJI1L .ifLLi fJ/4J
48
Pp'" i9 imkcn pqibhnz, nprnbq Lk uJIwbAc~p/w~m L~~lqjJ4iul
wJLI~Jf ZI7~L1IL 4utIfjtfii JjV&WjjLLltf lJMJp LAI7DLLJiJUlp dlini
)ipw pnpu 2p~wfeifrgg:
Pp2punnufb &Gnzaq
Uppuiqud pwfinlunibnJirQ
U'wm rl WfwlA2
U b Qwu Fhi tutu ahg
9fm( riwcnu Lhpqb
'U turlw,2 B n {Qituitua
rtinlio
UlrL gwjtur
'~uidtul
$auufrlnta
dbuifipur
ltibiiuia
[MtnLrLlshp]
gVnuuini
Uuiur-tnngt
2kiplthq Gnr
4Rti2b2 Olyh
b p iir orjjtuQG
UlfwiM,
l4wQ onaly
b"Utrpmp only
U iqrtul
SRrwQu~i
49
UuqJF- LP/Ii~ Ifl(p"51iLrJr4 bUJfIIp Wawndp If/ jnnb-
*nliu IL u/pu "J/d, nLr~pfnL(J/LfJ to nlp nflLk/ qiLul qpw5wljwbi
/J/iLreLU45iw" fihIp7finLLI IL fLWtJIIUrh u/fiprijii nt1LqpIjLJ icf
f'l wpuu*5bnLJ':
puidulibn LjU"Lb1P-
b) L /pwinuwuJ.(wi--u.i~m/uuwwfi,
Lb Lw~/dfiwLwfi--ufaw '1~1Jur n ~Awliwfpinpg am
luflwlJ/iU bq IL rltnpLi tJ7r flwLI1JI gIL wm fiLf ht Ln fnf w-
pbww LI?7,hb, jzwu u'fi-ui , I m7IpJ Lc fILIIfi "flL
qlPwilpnLrraf bitrqL' bp /i 'bpiu L fiJJL/~iapnLJ'uh (ii-t
mbitfp fri ntuLt1iwiJ ntjig fLfi7J r 1) 711f/ii, L tLL~wpj-Uj, 3) fiti
LW1J/i, 4) rjIIdJwJ, 5) r1auamaft, 6) 4ttwj/i, 7) df/iLZ ni puwtii,
1I-UWg, 17) pwjLi IL tp/i jdf,)t~wnai b51 wo 1) jRpw/i
50
Ij/ILLLJ1, 7) ~I JiPLUigwfJJ q.L[Lifi , 8) A!UJlUh*nL 11/ILuA, 9)
Wuwpui~b r[ iLUifi/, 10) UUiqpj r q/iLu41/ LL ui j4v, orning wfi~nii-
blp Fn hbbLOL uijq irnu/4 Fuiuo IL fl if/ i dwn~
9'/rnrbip if/iuijfi, npr 'rpvqt~f~i kpqgf/ifrsbp/i 7rwl/4/iu jtnp&/p-
fibp/iuvrf (pwI"fPIL/IJ~ LL wrJifi) kPi r w- yinri~L flq jb-tfJl ig/piIlpg
bngpilL iif~r il/lifr~f WZFiJbfljLJ /LJi2n7PihlL M Uhwifr iL wr-
Lu,,,hful IL- pPicJwL im, I hu' lbf /07w L rnniL ?nL9wLJJr:
Lpiubip nLbJI~tlbI bb /ipmby 4wum rhuuinhw k Iirnjui~wyfia
1ILiitijriqbbligg, n pnfig dfudfi frJ/7i/uI wnzuiuull.lidJwb illwwii--
J"L[J1L- i7JIp Mi urbqfrLbf, Eitu(47 o /ilmui4 4it~L Ln~Llp uiqMA
Iitnui4 UuI7LLI5LLJ U'/pqIM i . 'PLL/ JoniLULL&) /Jr~jnLUJ~IjYlg uIW
'qli~g A I~rLilp7jrrLlIL wujfi4U 4-ji bJLwrLLIL , 171 LUiUl t- [Olt
xqwp urrc JLLJ~prq t t: LL~nLj LIW//ij fl L g fJLLwiip1L/ /uwui5
1LIJ/JJ UUJ WuinLq/i itiif.L jwg7h/ j7lz4Ui I& uirjwuin I'PqgnL--
if/ 4. 9)oj /u ww JAiipi ifi /Lftlj Iip/imwuwgqiifhj lip/, fr guwig
itnLJ LL /ipr npq/i bumn 4uil/i (4Iimwftui/nLJf wL/L ZunJU j/i):
%LbLnrnL fiwifp. iL /IiqLni/f PguJrqj tk b/t/7i If/i 4wrl wihu
#Pw4, 41uiurwtj/i, 4p1pnm7 iL pn~onrjpi fiLwL~UitLJnL t," IL wjbl,
Yiuu/ /n~rj' Unp nL~fLnL flWLJ/pnL/IIhJJ7J U/i nLUn7L~fi JU f/inL-
/'Lfifi 4-, gig Iip~ujfi uj/ir /i"A SuiJi/ (ud"J ui/ui'/i f'ti AMJJJT
nril! Lp ybqbr~/i4 IL Apfn n ~ilhqin j 4uArritbg: UuluiunLif'
'L'iiuri~f/iu hpmc1rfLnnLJuA f~wl h 1'11ngit uhyn jiwpwduinLrfgr
in1 uuuAA, 4-: Lto ai if/i Sk/Lqj, np/iA ifwu/if i /t IWi jd/n--
4 51
umnbfrw991p&nLj~hL%)
bpwJ~rLL/JIILLI J ujq J t r~j 4u1J 4lhLiwfP17L- '/LLLuJYJ jh/?Lp9i
Jwuifw4fip/ &iflLfir)b 4: t~Lwhpl4J7L/JILLJr ZPgWlJJIfl ~ 4L j
fw~uimnp ZI12UA4JIII1, 4 bin wppLfoL di grqn yu wwlu IL.r-
il/b wjJl. UcfA A~~c~Jf~~7f:(t hurZnLfrip J WwL~Ilw rJ i i Ipb
ru~irj pwg/p guAJlrrjnLhwbIiuri$~J 4IJwlJ4?fLrLf Lcu fiduAi bInwdp2-
WflL[IIurJ Wfl4WJlLJ LL mIrbj~ilinL 4iitpini j IL7JLW&, ni fJ4
u~wf u142Wlu ql.AJnl-J hit 14uJ IipwuuILnL J7LI udiwprui wq-
F~~ LJI- bf/LL[I jlg ij L w/1uY4? LIII A L~p~ 0i~ j-qLj L pLIIUfl-
Iiufi I~luiirLLLirbp/1, wL, W~rt4wlwrflLi~, LUJ SI- LLf 1'pJ/ib-
fpurl'f uf LLlriwqwm7 IILI1I1LuW7 wji 4l iJf wj2fr hpwdpnuw-
4uIwrhr bP/ mrwl4 wuijw4wul Iuouelr iiiLlqn /puig 1pp
gwbflL JLbhpkprl~flj&flLdfli i nLljnLf whuAbhl: Ugwulin4
ullil fw upLh IjM t4p't <SpLp~LLuLLD IL Lull oulhpui jb-
el' LL ijfuriiwub orwuigpqw4bdip/i wJu lwunf wJfi Iipwc~tZ-
rlwI~u1 4rnnli rlp ilj 4luwlqprlLif 4uJ /uouPlpn/ Ihph-wA
it'LL~r ((<LIlr bf-Up/AI/i4 wqq/ip 4wrflUJ ), (<Uw'UJiL in iiL/ii
JbA-wq/ilp, ((84(1, 4Ilbgn ff4ujJ)) IL wjib,):
lJidib ann ZqilLAJf j111j11,bf~Lin~yJunJ if/AiP Wu IifL I,b
9)O111fl1f «(4wuJ4w4w7Jr PIJmp))>> (ufriitI4j1fliuj1rwl4flL/iiL"
~IT, frl( qbIiiiijwj liprlri uqu1bIifif /hL LnLfr 1 ifiWI~flLlfJ/iL!-
fIbl Mir giijy w i f/u: lbuwhln t, upi JMJJp 4flAJ11Lf Ihiq
!hiLiulb"u~J6 bpthf (PLLIiiwgblffr78 IL wL rj14ifpblp/i
njritD 2LuuLL-pu 1M1 4wffjLu7J1IiLtf11I J4?r~J1L(111JfJ LL ni onp/
LuiLwu& bptjizpr nLlrhMJL17fPL7: 'Arpqg/ fQflL/ij~U&wI7Lul finJfiil4
LuLbf/i '4ILfL 4 iflinLhf ((LZf P> 4wLj~zuIwfl ulJ 0Lf171L7 11LfI-
fiJLnIL 01,i~I wfrh~ini/: t4A(1wLu4 P>.-/i5y ittiLlri QflL/LuLhurJp
itfinLif t4 finLpPwIrlLubIlhfi 4I~~?I5lipgpiub& (uJI 41, U1j'?l-Pgw
-*Q4r/iu) IL if/i ZLL(1 oulIipui--oiiullibhp, UuL4lu1J pgwj-
ilipitlipP- ILniLfLub LIbbr, uluilipl: 9w15y WJrf U1,f41i Y~ if/i /iPW-
if4 uIjuLuL IILrjgfIL[j/iLb t nflihlMnLif: bL uJrt u/u Lulfi 4Luij11
52
bnJfL h 4Ii5 7JpLfinLJf, nilr InL/fuwtlIuwb LL bjfwlA4IbpgL n~ ,j /
~wJ lq 7L lPLLIIUA wf WJLLIJu~wflfL[J/iLbjjy 4wq~Jf fr i4[Jipbr ,
rip lap all IL pwmllprwrlnft uuzrnIc wpr ljliLJwbl wruiqd
4 IILn w ~ u mq ~ pI7jn r i~w " L l 1' u n 1 w j fp /1w J L ju / vll u n q uu u
qJLL4JIJLJm kpEhfj/y Jf Illil 5LIJJJwb Ill iid wmuIulhg j""i.
ZIPrLl - wJ1J, /ii "nP ZIi~rn~i t uiqrf I Lrnw iL"uf47bwb
uulIq la ~L I1Il/lc ~LJ - wj/I /p'rf1LD~ iffr4 LLjLUj'ufUl fzilo~u 1/ldr-
pu7 tp wjbi 4hflip/Ai, nphIffi J rul furnfr 411nq rj~mrtWp,
bjIqlfrlLInlLtpp, quiPc7wfulhwp, &wqr4Jp IL £l/rn~wpbghp L il
Pkb7 piui t hll 4l7~~f ~j4U LLulL~LLJ4UJfillL/IUI l~f J ilLr
!Iupu-Winl~pquJj/, np7 pIiwrnLpi P"i'v L-ii mL frJITP 'i 111n L
41, b,"" zww Wc wllfiu nri rJfwjii ap ~cfp, wJLfr ifflg/h flij uu u--
tdl'w41iwuprnr ui~bf / ZnlLwi puf/kil/ ijpmrp LL fin,4i ufjnqo
0HuwIf lypfiL'/L MfJnp4Ltp, Lpl,jifr Ij twP4LI7I tp ipw fiui--
"lpTLrg il &JI/w f'if sflpr 4 p1/JLIJI bpwdfZ wwjtt rnrIi/g b4f-
+,Lufnp kpzu 7LL/JJLh ' ilhtLI1I1 pirL fLL Ll' nJJ--
r" rn~in'f fif 1p ilLfJIrgI7, wJUlnrnb, IlLp p L Ii-
ILLS uu4w, 417, n fjp fiLf firs IlL uu1lLrpwumrlL cJ/lLfJr fi rul--
ILrLLJ It nrbufL rnprw4uAJ gflq 4IfILwlf~lLL... ni jrn
3j rn n/brbupdh/ ..tq4iuquS/p..i4~
( 1 9 0 L f u w ~t ~h b 1 1 1 5 j l u n nj , f 4b j IL 2 O -p q - qr pr £ n u p b d n L n pj
90 /J. I'ui& hprwd~mwfi wuqwrn uurnLq3wrLnjl~ilL frfrLflg
53
(tj JbifL WLJLL 411/, Llrlljiq rLr-rlflL7rfLfL) IMl 4hWbprnDl7~
flifIwbLUI7rfJLflfJL r-PLlLIAI t bllp jLJJU5liLmif: 20-pq q~w-
fulL 4bb5 LLIILLLJ /1 opblip/r4u IILJJ&IL J11L""1J Ziiq~ii bihp u7IIU~JnLL
(urJ bp4uIwJwpM/Afj qpUij, 4liuiwptpppn7LJuLbp Jj/~j 4uq wi-
1jwUl11?ur bqtb &LLntlplp flofIiL fiu ULIhrf/1 AZ qLJ fw I L ffL If Wjprw-
, wrjUwj1 piLJt ItpwJLnfJIJFL- A JJurr15fop/ii IL 4oi'ujoq fuu/~np
ffLUflL~fbwu fnlljfrbji/ filiLl! UJLlbrLLwfLif: O(Plip t 4 l wiun-
LJ!1LI wrLuLLJ1fFLbj Wilt LLILUfwp4qI7LJ m/unqftr bUIfU4 f4f uW-
bpwduJn j-in bip UI. UulbfhqjwphlpqY ('p"J5/k) «rb
!1"'P~ &/ "P , It wjjbr IL 9 U'pp qw LLJIb fi . IUJb n j l wI b
ZpjmfLL b/u dA/4-L/ opX>>, «hbrd fpl /lJJ~p )I LLJf ltp4bp E (Tfh-
fiA&PltI-hp) 17J4 Idt/l rf~Iti ZblIutLflflLJ ~u'4WU' fjL' PILJJ9 I-t-
LLf1PjILb/bAr nprnZ wbIbftMI# hit Zl7~ufnLif:
1Z111mi71 wpqllb b4UMIW~LniLJ t WLbf1 fLjLP JfMWrtpnL4'uALb
fbp% qnlLpfLLI WWurrj iiibi1 LL bipwdf cwmiwb 4wumuij
U1u uLItnwuw"IIWI 'dw~l u:
4nJ/,mrwu Jwupriwiiiurlri, lip 4wiu j nc riq /p LLrpI b lip jLq
dii li lL InL lrf,~wl lI/fL zftl &,7i- L4 iflbl tj 4- If LLLf, m
wuufLL~p1ILiJ, Lrpiidpiiwl wf uiIJu ftrjqlJ b4Juj~iwb/fr biifw
LalLLI- t LLI1JLufLLlI Zwij ofnitjlLp1LLI4LLw i1~/ btr-brf iwfrlqnL-
/illiwffp bpw... Imp bpilzp (.IJpbInfL ~c(pdbf, epur nL -ILJIIUJ
IjnL/lpj Mi "mIn i/bLqg, 4wtrpuiw.lhLI5Ji J/igng fbp/... 14 wJ mli-
rn/n fj.blqupLburnuilfwb fimp~p 4wrLnLgJLw&,p, f4wJ AilLblip/
JL7pJ WLLLL.. LIWppliptrL /J/lLb~r bp fwbnlfb t-, npr 0dlnn/pqiu-
Ifr d, .PL l4- bJi Mifl lIw4ugL/i, LJLLoppLIhf IL ,jIJLL4IlL(/L h
JwtfuL!LrfL5LIbj t, flu fr bJfub Jwpd wpn L1fiLb btl pfP pIupp 1-4--
ljLLtfyL/uLIw4wbfi Lbbhnt, f.lnL Zwwn 4innL fi: 9I'/LIUI4Lr
Z4D-E~ iflfinLrflfhl - Jrm frtt/jL4wfb, lirptP4 wwmiwp i fi twi
bunLLY, wL, pLUIF t-, lij t4 bpm l~J/LI p~LLy, "'q1fiLL', #LLIILI
&LLJUyjlibi L1LL~L/ fU ILgw lirLfJ- LU biLL bL, iliprguif 4-
Ujr'LWfll LwLllLJ/iL 4- L wjb li jw'j4b Lw fwuq
1903-fi q~. Ufitbui m 41U) uqt L/wpjp> LL bpwb/ug9 J/iufl
54
Lu- (<(WWJfrlA 174wL>>-/i IL wjl (Jifhbh11jthp/) "I"' Lwl liml 'impb
LU-' ',jtu" f~L_ j t fLI5, w nLLilJ 4UJJ pW(1 tL' 7p IjIL iSZLlIbLifJ ul
LU qwmu u~nrn/j wcfpipcnL fbWlJ uj~uulf1tjnLJ-t: Ujuwr~jZ Obq/-
Lu- w111/1 wur jp11ffLn jAmU /l 4u/If 17pwd~innLikgli. fJ 17t
LU- an~LULLI uif L fulpn witiiigni Lu bg Lfr fr/~, IbjLlUJ, t plinlLli
bp~ u4b lppy qoil Wp17jLwAJ, LurfJw IL 4u j 4brnwfi pm IfAt/iauuu
in- Jwujji 4wLrrLwi7 lr kIti nL IL b/dt hiovg Ipplq/i t wublr, "e
I&~ Ij *j 4LuJ wq~ul u brL17&U111jLr JLLfv bJ FumplP mqufwu/p, flvpw
LIbw 4P/iiflim,/ti L A11 11 ijfLIJ ib lup"JLnL5/iL' ul/inp i rnfpirl
q9. U/iLbipIu:
Iuj Zwj 4bIu~ie/r utifimujuu U uwJ if Llibpgr, iretJpuuiupumwp,
rub (4bWpWuLnlnLfJ/iPJ Jb pbbwJjbL 4umJ 17pUlm~Jgwq Inihp/
fh PILW bp UlmpI7L znP/pWfmg 4nqfpIL Lpnt/utluru4 WwuquinLfJlL--
-S~ 1!4brl~fwfwfLrnLw& (rnjUfnpnll&rIl J/fin1rnr/) dlnq17:
lUu "" ufLJJ/iw 'mJJ pp4 wpir 11i2UAim, np/i Ul14hJ&lflL!p
_ UJIJ LWiIuflL~f Iblq, JJII~lILu 4fJwpWLInpnL J/LIJ 4wnuj wjl mi.
UI Jlfb IZflLLUIIr pbpbpun IL wjtJf/LunLf IJPWIwbuJpnrj112u4ui
11111~lLInw4u, llpwf inLJnL:
pp 9K U/I. f, /1 LuJI IiJ. iiblis JlLnJ lft4L LJ'/LU/17 bIL/hY 4wJ b7--
,jv jpwd.~uuu4uwl bpr4iw4wd1wg/i' jpumj bpILLnLJf bd, bprwdmuu~mn.--
1Ai Ihbr M. W'b~l''wipk r uJ.7JILIWLLIJ st- 41nI11lulm, U. Pulp.-
L jiJLipupbr~wl: Upurwfg/i urnw"/iump (ly uInpurnlnL/lL-bur f ilL
r&i mujuwfirnj) Iup jnuiu4wli 4vwi fbp (ulJ'yp'ulvi)... lip.-
b- 4paqmni 4- '4m/uLf~fullnL~t... 'l jpJp 714LurLnLJt t lvpw
Ar 4- Imp~ &ypWd~mnw4usbi mujp pp llhzp4usJnL fJiLmp, pu'15 LuJit
u" """ppbp Ll fb" 1171 bbri dILlM4IlpuLu& IL 1LLWP t wubL, [1t nipr
i Luil o1 l77 'h/iiw1/d: bp4p'nprp Lr uli17lLZLI 11St--'linm
f~ 'Lui, I4jnLift 4- ipuj a nLUuJ4LuI (fPl/iu4Pjiplnpuwj4ni//)
/hu~ 'uqjLI5nL fi/LlIj, 1tIL... 5nj5 4- inumj/u (wJI~4wwll
/Z 4 Alf," umprldijbufm Jm WDnq) At'ounbllurLfL ,nlUjfl7uL L 1plLfId,
- p~np , upwpnL1 ,bwi, Ift/i bp72Lul/i4 jlW5lUfLnLfL1J 4
rq ,"'Lfnflt WJ'l hrpb,p/iwl-P 1upj/ t urn, b/iimbjni/ wJT i'1Fpl "-
/1 Pn~/n, u~rmb-u,, Ah t/iwtujfi ~4muliun4bpfm 4- lbp4ui..
J~g~LU m Lr LfIi4nL pLrv4bpflbp/fi: jlut j/ 4pnlLlf PLp I/pUJJ nl
yr l''rn kn'L[1/i Lf,, muw /dqi niuj 4- IL wprI '7 Lbwuil nti finJ1Ji-
55
pwbl gLJJunnL7J 7JIhp4 wJLLJnflL/ t, n jpuf q. ULb 4L7J/4J ~uJJIu
I4ufv t: Ik, 4uirwp wju I/bp~/pi 4Lw7JfuJ-wuJ7pt WIJ/f1 IJLPW-
/uuq/i bpLtnfJ t, npjn jbmIrL Lrfrj4UJ7JiLPj 4wifnL-lg IfJ ili LLL-
1bwufujr 4wJ4LwJ4Jtf UI75ithJInfL, LL LIJ JIIJu lhp sU LI&IL,
"p judurpILj/IIL LJ7I/1 jj 4U4pLIjLLLI WWJWJW1iI/1pL7J jfwfn uq wjur
bprwdZ~?mj w f f17 fwt j S IfLjflPgn 4wiJiiwi1iiit fit:j7(/
PP p/ZJILrLjpI jLL4 L jpjnLJft . rlw bpu~ui1/ 41wwp: lqlyw
«qpuu4uP nLfJluui qi LirqqAl jIILLtJ wtw jhp yw juop li/UJ pwI
Afip441P wufAJfwI~r~jh.Yp~4 IL 51L1JW17L71 oprfliuui4:
'Lbj "Pn ,w, jpwJr t m rw £n tr ibi If rlinLfu 4"jlr fp "'i t-r
putJdvnw4w ut~ wp Wuufj1pqi1Ltf IrpLLLAJ hb- .. wpjuuuj-
LnnL[fJ/iLJIpp... JLripf/ Zwu jzwuuwu4uii, pu'7 rj pw4wb~ 'thlp
Ibb 4LLILI1rLLrIILJ 4h fII7pnrLrf... I1jpwJ}ZLnL/JI7,'wfJ uu I4uuJ
wJfi nLrzjnLJLLJ7J 4i'wfwp:
l~b pguwglhrnq LfIjp /ioiipL 4LJJ hpLJcIdZwL fo~ti7i dwuThb
JflJU hbqp LI1rLITd, nil LSLL jiur LiiLAtujIhf lrnL ofJi i, 714wpr "L-
JI7LLJ7J, £f jw4L tnlL f~bA LJ'ilt~ filep nhinl mbqpl~ nflLilii 4uiJ dn-
qflqflLpqrL ujf4iiif 11L7J117JuJ LL LjJIjLhuIIJLfl W"fl wuufwjltcqnL'f
PLp InLpuIJ7J WILhqg PiLP i p7nZ /AfiP fuunn/uu u jwunthbpnq:
4miJ lip uid/f 71fi J(fprL[hwu7 juuui? rfw ItjL'8; f'lpw Ift
WPn/ijin bpwS~unuipu71 I~ unj-l"qfl nLrff1L/J/PLJj!,o '4WJ IMWs--
qIfw~L fLswI7 4LLJ IpjrurZuIf7n f LWi5IijnL Jm'uwrjtpnL IJ/1L71 IlL
ui f/uunui71p71pp IL 4uJJ w1lL7LJLul~4 fuJLwtlJ7 UrIp uwyglM--
rg/iJ 1Ibp ri 4j1wL/ipbf j' pr Ifwrwp LrlUjI~lnL w1jrl r-nphC, ,wfrrt/l--
LwiLLLJ' IAfr I,, wuuiblilzjp Ls lipuQ/ft7 flfL q jlwLw~ftLr:
56
'U-
1W
Itb t ptatuQ Urtil !tupti~gb uiQgwQ qpwtu ntralwG Ut tupgthutnb
MA ruGqtuptuGntt: gVju~g i uuuijtp fitutngtubp quin I lzn tQptu
fiupwqunGtipji ithtn' vUu-nul: fauil hptud2UnntrabtG* ntunulu-
ubipntqantpt Ii tyunqbnnpb jiGp~w i uhuwpntqalnt~p U1U4U1-
qpnipalwG Ltuinpuuwitju oqutit hip r~pw~g tutintiGgw6 oplb-
/~ Gtu1gGtpjig, npnQp rau~qxupn~jiG UQ fiwaaht UlniQbb fituiptu-
dij qan~tpp 1997 p4ttwtbG 4 tuldl uptufigntU UiG pitu~quipwuji
waf1 cI pjiqtp UlntGbbj ~n Grlntd:
'24bG fluultltut tG fitipwulnuutuQ qptunp tipwd211tutltu opji-
b Gwl4Lihp AtwG, buldGutj 1h? u~rUPIUI thptd2tfltra1lnQfl tbngbG pQ-
7 pggtub&it, wijnitwthtttui~b4t thpwdutnuiwQipbG ftu~nr14hit t
T- lnilu utbntqt ilip hipi-ud2utntuIG wugltutjiQ ttiptuptipnql 1~thpj
La! 4pu: U~lu Intituuun4 tupdtipwugnp tiG Uuq. U titbplwQP, 4. 'nfthuG-
Gbultub, UJ. gn~tupltu~ji, U14. Otufigtipr}1u~b, R. 4Rnt2Grntuptub
f0". l~ratlwi, li. (ia'tufhiqwltu ptuiuIaq qjwnu1gwQ fintljtub-
1,- UAG «4uggu.tq b GinuwqpntrnLipO, bpbiuG, 1959, Uuj.
17L 4t'hffipluG, 41tpijucjb fitul iptud~turluQ ugwtvnLItrtutba.
iL- bptuQ, 1935, U4t.DufittipjtwQ, 4(tul tipud21nnt1altwQ guttnt-
Inanrilbt hpwud~turtuG tjtuuntlntqawQ ti uitiuntipiwG fitupgip'i,
td Q~diqpuqr, 1958 (nntuuhphQ), 1t. (i~tufitTbiqtwQ, cbpwd~uinnqpju
~ul1nlnGp fib 4tuiwuutnw~ntt5>, bpthxuQ, 1977:
-UirntipQ Q2tlt t U'nqjuhu 1unptiGwugntG iu1Q ugutuiunrnq, np
GU uutwibp uunirlbtg fiwuing fituduwtuipqw u twtntlt Qltp'
6GuptunpbGi tui tbnupdhip QlipgwtuigQtitn4 Wti ut qpjg itlbG~t
by dtiluGtutrn (V rlinp ):
cIpjiqnp U'wqpbutnpnup trtg tp tui ntunig~ut itnuihpjg, n-
pn~ t't' Gtipy1nut ndlliQ U1tuuttbQ ahtnppipnuIdtipp tdnthnsuG
1G tii ud2tnullu ntuntgnL1ip Qnpnqlqtnt qnpbntu (XI q.):
%ltiutuG~thpp fibGQ t aji2a1uqwtpltuQ 4tuu~utt~ uuinirltu-
57
qnpbnrl h tiunupnrl tupptiutnwuitnwtip t~bQ' tipcbZQhp, Ggwcut-
bntip, ugtwpnr1Gtip, 41itqtuuG tipqtip nt qpnt~gGtip tuqwcirinriatip,
dnrinpudiwQ fipwutgwpupuj1Q jatwnpnGbi ugpnrihubn~tul rlh-
pituuwQGtip: t-1yirl db2GurtupnttT «qntuwuG* punG oqtnunpbq4hl L
npputiu fituitupdtipp fibGQ fintitwphG «tiItdnu* ptn: UA.hnyupjwGG
tutntuaaatugaril t qruuG~uipb tipl~nt funttlp: lJ~ntuIhbQtpp tqQ~-
quitibi1 aw juuptuput wG mn~hpbg luG 4i fiuGriu tbG qwfliu
ipugiu uypn~iubin~uI~ hpudb2ulGhip: Upl~pnpr} luilrpiG tguiwuw-
Qri thG dlninw4xtluG' ri qpwui qnutuGGtipp: t'wGrptuGtutn{
fivil tutwwitwqfipGtipb i 2ttt~tanGt G 4tuptqi tz G4L.nit,
rip du tuGtuwl.~dgGipb- 4ipwuptptntGp luunit iidutuljuG t
htqti: %rtuw(Gthpp idi'1. uNwpuw4tiq tiG, ti'4 qrigwpwG~thti, fitutw-
4tthu tI1?GurptupltG &tuiwutnuiGnttl: -RpfiutnnGhiniqwG Uiutn-
Up fiwuunuuiriuG bip opb Gw t wqgrjtigntqpntGG ntGtigw4 qni-
uuwutuG wupgthuuin 4ptu' iuuu~i~iwuptup 4rnluhhtn4 Gpiu pwupr-
lugcbtnwgwG nt qwwt u up GuwpG tpirp5Gripni2flUt:
s %rraGf Uibh 24utu 1 '-wuaintpwA~wG GtufiwuGq qwijunGli-
pbg tp, rip utufitlwGut4bg tp UlniGlwg tu2luuwPfflbG: gb~Ghitil t
4nrigtij f rruripbrpui tlth G~wwtnp lbGhlnt 2Gripfibi4:
6' (d'irng pudt pi/li1jwg wGitwGnip fiwl ptnuGwufi~riuntt&IwG
it? untupplip tdhl4GwupwunralriGGtip t rirGtigtl: &4uGuiltG pwu-
gwtiqifl4raflLG tl 6twGuittti U. U~phirnwGbi niuwtulitnp: UiuliGpG
pqi/ing lrp qlp uiG-LwGnt~ btauqi t qpuGQ wul-uluwni
l4bg: c1.. f'luwhtuGgiwuG fhwutwttnnui t untpfipiGni «tiv~ - fun-
ul 4 fitulbtiGnuli Kt'ov-em>> (pil &di) ptuntipp: tudlJwqtubnnt-
pitu.G UIl? tuIG Ghtunniul lz lli bdtuun, nipp fiwitiupdtip t wulipq
uihiptfibGl G:
OJn/u tiG 4nrig4rii hiljhqrhgw1l~wG tipqgirinra~tG tii btuuw-
pntG ibtflnrpGhipb fiGpGnrpntG fiunguGtipp:
8mg, gnzjg, gnlgp fituupiugntpjntiGp fib G 4 guil rfli2Gtun~u-
ptuG 4tuuunwGnri Uib 14rirp1bg 1jug4wb t btiuipbi, bbiuutuuw-
pnriqjnrGhtpb UL dlttu 4.nrpig' jatuwipnGbi fititn:
4wgtprxuG 4tugriGhG tiGpur~pnri t, nip KqtigoGp>> btugit t
(li'wqdlwG bhub1 duhuGuu twtiuuG 4 uGwGg rgUi4uwpp filrG
4wultuuuntwGni I nhtil t liqlipwdwjp:
" LGni dwujawpl~nizlpp raurituiG 6hiuf fituundt ituuGwL~bg
4twuriu~ tfQ, rip 4tuitntupni tiG rpb iipqhip. l4tupwQ~grilU t

GtuUl ripuyiu nqlptpqtu4 rjtiptuutuG:
Pwdfp/nl l4tudi Owagqn, w11 p~QatipgnitlGtipri i/wawin,
58
Iw- walinG, pw pmn, pwaqlinG, pwdq/mnG: Z4unwpgmut lz ppu-
'1T, IbG, nptuwfp, I4uhiJr4flq QgwtuupwG: U,1Q tlntpu t UgUI qnpu-
qii- 6ntpalnfflg 1112 tdrG'Qupnnil: I-1rptuintuG liriuIwuLIP, iuwptir pUI-
a1 t Qwijp U iwptug npr t1uQuG ttiriigntranGtip IiQ uiufliw~qti:
L4QQ lJ'hJ w~t U11iUtU1]1iU1 fiutuitual ptutl2Irn fitultuptjntil t; fituipt~-
lhu . "U'Ii~plpnitXp %, tQG6fw(4i Gu~ounipiG ,tultuunu-
4-Ghiug tu2lutupfirl* qpprg tZ (fitn. II, '-gtiir, 1835 pa., k2~ 294):
tnq~~ 24 Rtupp fiiiG finiGwlputi I/ipwG t' lnptutnp tqutria4nq Gttui-
qw, tpwG: 4jiQ fiwuluwtG tunh~uqgpnipluQ itM2 fir2ut~uugpnn
Gt piunttut U tutItqUIr fltf upwGh phUph (gtu itulq lwijlG niqlr) iqui-
1Wl- nftggw ttu wpcqtub f1t: bpphilQ GntlGuwgqth t 2Quipr, intuqliir,
tin- uwtltnuwpwLr fii:
afl1- "~ q. Z4tugnd~iQ gawpwflwp 1l wd 2gwpwrineptuantipp fiwlwhtu-
pin- mn4 fil-G intItwph~h fihuV pratpqilwurni 1Z npugtiu 4(. awntu-
ftup*' Qljtuu4r ni~h~tulnq4,b /iiwaU npp inuil wutir, l uiIria-
S- 4nrq GgtuqiupwG tp: U,1G l bptunqtq t rah npt.LfIu dihGtu1 wuitup U
n k rah' flhiuhu hipqhignluip Ggtuqiu1 gnrq qnpb4p: U~nwtiQ11p qn -
jnutl lzp l icsnplwiu, thp1.pnprp' lioiup nil/lw:
WuG 14Ru~nGp uiwpwubgw6 t Giut uwpudiwG hipgrnhpnuIl, np-
1Wu- uirhq 1ppjnul t: JRwaU:
G ''1Iuipl OhilwuGn (1849-1919) Q2wutnp qhipilu~wgr tipwudfl2-
1Ini iuuhun Ip: 'bpwt ptugqiurwr ui~juwunn1ra1n1QGtpfrg tlhln 4i-
u- Pwud2niuA~wQ pwunwpwuGG tZ (Musiklexikono, Berlin, 1882):
ant- "-IjiGp hipItnlG Gnti~Qwgnu5l t Gwupf Ranu, hipp firith t p~rgntG-
rpq 4nfl tgwfilwihp~ifj yin ptunp, npl Q2uGthLnII t Kl iuul pGwup :
tpphilG wuGqtuinulp GnlGwugnt ; Qtuit uwuGul plruil vina wG-
tu- ugwuIWG~ fithui, npp Gntl~Qtqhu KpQtp tz G2tuwQ l U 4hti~uQlw
qpuagnp ujalntp~thpnuir qnpbtubg4t it npuiu tpulG tiguiqu-
,Wt- PIUGhpri pGrfitw~nip wuk~wnul, 1ru1 Gnp fi~rjilipti~ntul (IX qi.
w- uuu~b)' npugiu thrthq.Guinqr gfiuiptulj ituQgtwnuI: 'i,wd flif~u-
4U1 Ggq~tuptuG t, mLQr thituiitnlt tllhQwtnp tutpithQ, uthlu~lduw-
t Nihu fiutpntuU- u1upftugnpgwb t Ut mi~l nptuggwb rpgnattsg 1tuatl
W~i GlntraPg tuuiipuu,4w6tu lptugtgri rdiqn~iuuinp:
rG 'y U hiptiptmtj wupttu it UprutuuL iu 4twxu.titn SU1tu~gr
'&4Ih1pq d~tlrtitbh-, uuuqgp U hipq* ( iu,1882, ttuluhipq, it2
Io O $rp turp ~rifiwGntp tuGtunul it, np fifIG Ut t1?QwruitpluG
t.Ul1uutGnii1 nplh it liq4tuq~unp 14w15 11n~rl2wmn tw1PG 2pG-

Un, " tIuGQ gtuqtuiptuGhprG: $nqhpp tli i G n utrulG tqqGallu,
59
wtIIh itwullw, nut~plw, thq.tiplw: UJ'hipphprniTp nl. t'a6hrittdr at22-
4tub qpi4'g t: (fi. II, t2? 252, 253):
2i U1Qgltirnxti thpqtifinG t l 4ht ptwuwgitnrq uprQqp (1pwd~ (Jht
f41 ~iinutG): 0pn2 wuripintp~thpflt fih2wtunu1 1; tiGtdf 2pw-
cl GtwI tipqhtflinGr tlwufiG:
22 bGpatrpqntX t, np qjwlinap 6wpln Gr p LunQQ t:
1ThUIGnu 4lip 1ThL 1GpW1uit 4ut2rpGPf t 12utn wiuQwuip Ul qpnt-
II, t2 253):
'' /qwpwi/ir7 nq mpdIGp fiui~rltntil tZ fitul tl2GQtwrupuG
dtutnbhtwqpntjaltuQ dii: bQ~awrlpttnui t, np QijtuitupuiQG rntil w--
4hfli fifiG butmnti: U~ltgiu thG 1Gn~g4h qiqupijwb pGn4( tirt~tpliw,
iji Wu1Wlu, ulr[WIIW trnquwtlG ilh 2WupJ qnp~ib Ghp: U ti~ptpntdp' rlt
fGtidluiG G24iub qppig t (fitn. II, t2 253):
2" 4wurwi// p firG 4t dI2GuirwppuG 24uliuuumtuGnuX tqpn~tiurn-
Gtut TauanpnGr rliptuutuQ, dihGuituprnlG lr: 4Gntil Gnt1Grul4 qn-
1ntlalntG tiG ni~thgth fiiuunlj tutwptuupwfiGtip' t4wpJuwtwpwGGtip:
2" U'ti~pthpniTG tupgub tZ 4. ZuwgniGrn 46tw2tp 4 Jiitn~p fiJ-G
4wttutuuwiQ xit1 qpj g (4hiGliuiD1, 1912, duiuG 2-pri, t2 205):
27 «.. npt Iiu UTup-U~pwu liiumnrw tuni r 4rnpntGg rniufg
tit iwaGpAuiag iupwGg r qntuwGu~puGtG Lul qinwGr dnrnituw P
rtw~ir wupniGtiug. U'rnqutu IunphGwugp, wiutnt~ntiantG 4~w-
ing* U., d&%:
28 cjppqnp UlntGPG Gljuiuir iutfr IrrtiiwliuuiutuwG' pbrutnn-
Qhiud~tuG 4It itunhphtulpuuiudiwG' flhptuGnutu~twG qiturgtuituipwu-
Iunuriirainiri tn mpp2iptlpj: UjGntuwi~tGwlGrt itipw.Gnurn-
1a1ntQp nptqhu ljpnG, QntlGuiu qtip Giu~tuGr uq'u2tudnt~pt~ 4
nttut fiiuGrihpipiq lw~np Pp uwtfiluGnu.Jp: rt U4tbwGp w2jiG
flutuwinp 1.wI fibTauilnuwluG 4poG1 6wtung ppntd qpnid t.
Qtu 4 pwupf flng 1P2wtnwu4 rGpGfG rntatgnigrG tiJip flisawnu
Giuuwflipg fiwuuinuqp Z4iuthltpatbtut I4hGtug. Ut n't uhtupwl4nL-
uwtb 1.twl I pGrint1Qw qwuu' pnqiuGrptul tuiqqug t2 pwlg tipt
pwGr rpp irn1ntuuuuul, npT qtuGuuitunwriGQ tu~ u~iup-
buGj flu dwppG... (n% URflitwQ, w~ba fiuiaunp 4tutI fliiauGnuwu-
l4wG l4poGI i g g 4lGhtnplj, 1895, t2 410):
' Gnt atupatulj t l n~xjtht qlluwunptuuytiu lpuuiwtpnrt 4i n
uunirlbtuqnpbnrq 4bG qntutuGp: wxjbup u *lp tnp niGP dIb p wGP
Uh14QtuntiajntG' I4iG qrauwuG, npp tgwipnid1 It pqntl t, p1ti~a

4wppji mhip l4bG, ttjutnu, uilnnGrlg: q. 4wgniGpG Ktuipapo fiwuiltd-
60
u- nixtl t w4wpd* 1.puU upul iphG K4inpq>> rturnhpb fitim, npp G2wu-
Gtudpiul t K...nunttJQ,.wtuumtnnhlr, fwpiwpntrprJG: 4wntittu-
W tniJ tilp tupfldiuUntUlllt4p flWunrQ fiim np t11p G2wUiQU ihptu-
db~itup, hipwd21UAlLtuG k Q Gwwtupw , np wupnttiuuip uwj
l' ipindtp v '-.&ugnt~nt qpprg hO («0'u2ti t it luG~nlp
it 'KUw~lwnGf qw Gghinj p utiuduiQ , u2luijp fiwqpuiwGt,
u tunhinpu ju luu ipndlnarf, tiGtutn4 ptur utpuq u, t12wutntu-
LuG btG 2t tuiG tM2 ?ph' l~phlitp 4 It ' Up~tfntnpb filiu,, pGuAlwUw-
uG pWP hOPrwplgti t Wqgrltigntpa11tQ~lipb, Ut, l wt Aw6 tiqwmdt~uwluG
,u- pwghfiwtl~g. fiutlliwtWG d2Wulntllab tnwupptip ntnpU1GipnLti f
LU iwdtnutG tt duirawnrptiwuGdir pilInG tlnl, G 2WugrtgtraPtG-
n-mpwdtwpwGntrajntGp tupldnu-IpIG pGnpn2 uIgqpniGj Gtipfi ntpwug-
n- wa 'tuurG: &ul lipudtnniprlntGf jphruuinflitwinq' ampn ph-
plug tiptgtuptulbG Gnp pngurluntpalntG, ptulg 11gtugti'u lljupnq
1G p lip uwpqtl rtuiptipn4 fiqltuw, fldu~lhU wpqgtub wuputufituiti-
tui'rng~lip 1lftuntluQ ahuig, UI~gltunuTt 2it4nptub~ tiiipd--
MtuflUnunlntralntCig, npp fituGnuntpalwG n pht uqrlignt-
r rilnGfl tp, wlt Gptu pnrltu fitupniutn dunuuGqntrlnlGp: b 4tip~n.
u- hupnuq U'wu2tnngr 4t Uwufitul 'lwtppal' 2Gnpfih4, qptipr qlntnrg
fltnn, flwil ppiuinGitffwuG tiptud~unntpatuG fibdp luG rptunGnulS
n- 4lurtu filiutuiwuG 4wuunuGntds abiugnpu awIuGtirltu-
U- GQuiE~ipp, npu 2Gnpfi114 dnrlnqprlwuqnutuiwtfwQ tiputud~tnTpuiG
1- htlutntunnpalntap, fttwtuGntpwtul G (ltwrlui G) ftlu-
t llUPq~ aItw4npnttl U flwul fin qinp lipturd2ulnllwG InlptuwPt l4n-
iG ianrlGhp:
4J «~rttoin tntuni) tnwurdi fitrdlm ul 'itliputuu 0Oonp fiwgi tz:
Ouintraaw11 tbturwrpptuG ppriuuin~i~t~uQ hipUd2Utitul pAIG
?wflp dnuyngniprxlipri tuflglnul catwtnpgw unrwlwuG awiltui-
' lGtip i, luliO ntuinLGpb itima, npp if.pa wunw1G gwpthpb
~ 'G~alg9nu p-putnGhtu wG igwi2tnn~tip-wjG lipwud2nntautuG
2~i 'tpl.luttqnpqh1i t nputhu ntpawIa, pht rpwtui tunu5 tiThwtn-
ph1t t ntparg uuIjh-lb awGh-AruuiGt tp: d'til litu pGpuiu-gntt t-
1' wGaGtugt1 hOG utp~tluG 11 wup~huluuG npbutnnGp-u U2tulltlrhIp-
It p G fhtutnnd1 ntraawlohp, wilGntiitnUtuuphhuuiltli uwufitltuG~lipnttT
t tuPGUttliU hOirh 2Wupp wtuqqwlG ntraawiohip, npnGg p4nal
61
GtulL fituillutluiQp: 4Vpthpr cunuxdr fiinn U tiupntg U'wu2tnngG rn
Utufitlw '1huppq4pwipu~tut thQ rtinhu fi wGnuultu 4tuljwu-
uiu~tfT qnlntiantG nt~Qhgtu~ alutlGthrLwu~wl]Qhph ttuurG fibG niu-
tlnt~pp tL i ptlwpgtwtnptht hQG fbi Qwju~ntuutngtu14 t2G~tW-
ihG thpqipp, tintqutiu mthhrliir~tpp' juipwqgpttn4 fiwulliu, udi
ntraclwuGr Wftunwd lNn2flP fitu~p' 4 prnti (U1 awIQ, R~ atuia, qI
&iuiQ, %'1 w1G), 4 ljnrpi (U1 linrim, P, 1gnqm1, q- 1gnqm, fb lgnrlm) I thpl~n
uihtari rptu~uGwhtp: &tultlu qwu ntramluQG wGght t qwupamgmltu
dib &uGugwpfi, tib pxuwQgw ugaqixrpudppqtuqnpqti t: Swtra
fitwuwtttpwafb thpud~muwpuQ dwuufntinttTu cpbnp S wuLiui-
gnt rlh3Ajwqwpn1ttjtwtp p~rgiuGnip fiwtuwpwupr t pthp4Lq ntrawl
Gb iunijalmGp 4i qnp6GudpuGrG 4tpuippnrq rlpnilraQhpp, nprg
dfb uthqtT Luthlntinidl t fiuuhil m1I1G h %. qutguuiwuui~ltwGp, . L,)1-
tTG61wuGp, t. Ii'wu26lwQp 4 Gthpt opltipp:
" lutuuqpntpalntip fitul m1I1GuwlwptuQ thpwd2ulwLgu qpni-
ralwQ wuptthuuin tz, npGl uquthl t a~tuqnpgtit VIII ritupniU: CIturlqw
x, upri brugtqI nt u1g~qpuG~i rpulluGugnm~p Ituu]4Lub t Uudi-
il4tuGnu UlniG~hgnt fihmn: 4thittu tT2tulltILuGG nt tntupn~tuGf
dt~mullgi UG 'pfiqnp cnqbg, U CQwGr tu bphllugl G, 1utuw-
untp SwupnGthg1G, bitiputhu CMnpfitufrG ti tultnp, ututiuii XVII
gtupntil tupiG tLnpugwb Itp tulq GQwugwphpG p~latpghitnt pwutu-
thaG, ti i1bQGL opu tl futwwqp ptuqt~uwab t~wmplufGhtp hpwudfl2-
ntuq~tntralwQ fitutulp mIGniLd hG wuntirb4wu:
" S U'h~ptpnttTQhpG tupttwu tG %11 tCA6b6iwuGb 21awNountrapiG
4tuliwutnwuGhtuig wu21uwupfihr qppig (fhtn. III, t2 120, 143):
36, 4gnipip fitul finqihnp hipcg fiGtuqnilG tnthuudG t: UGtqwaniJG
umtnwghit t wuutn4wu~w2G~uIG uiurltTnuLthpfrG 4i opfiGntraltGGthpbG
1ggjui& ffrahint Li nptqhiu rlpw~g fitutitu gwuiwpcttp11 ugtwtn-
6xuuntq: tutwqh t IV-V rlr1. Li till(i ti qp'hpr q1ntnp wgtu~rItthL tZ pwu-
Gtwtnp: U~nui~t lgniprlGthpp fliiiulni hiphipwg~i mnGrg
pturlltugub t 4np-p hipqhp LIQb: 9.tupitq 4 LiptuqmhtuGtuinq
1lgntprlGhpG ut dibnthi hiG 4gnipqwpwG lin~g4wb dnqnmtubnti-
pntil: XII tuprg uliuwbr rlpwtip Lin~i thG 2tupw~wGip, fhtutmi-
tqwutnuuuuwputp 4-gntprtuGGthpp' OmupwL Gng~thp: Utuuni-
GtuqpntiplwG ih hipphiG fituGrrtqnui t l4gnpq ptunn, npp Gntl-
GLugqhit t Lgniprlji fihul:
j' taYhrG fitul tUb~rwrlxupltwG thpqhgnrlntralwQ tnthuuL Gtplg

It, thppbtUG Gnt3tuggthl t wwrl fituuL tugntialwG ftiu: QI~ui l. f&wufl-
mibqlmuGr, qwtGap, umturm, dtohqhrG Li finppputl pj 4uqmtt hG tp-
gt2Wup: %tuGapl' tUtutuntnqtutlu, u'aufl' ututttfbl Alluiul-
62
Snl Iualp fintqiuuG, tfihrbyG tunwgtqt 4u fintgtultuG pGntlra, bulg
t- ;U ti~ptipnui~dhpG tpwp i 4(Q Qwjuouni~abiQ Ztuituuumtu-
- Ghuwlg tu21uupfirv qppig (fitn. III, t2 116, 189, 143, 144, 145, 210):
u ' 9bGptugtpGtqfipp Umnlih ptipnuli hap tutip1plq ltutip puwn
q bV~ahnfiirqjwuQ dbiputiu M1XnpfituqtG thpqiufiatG 4 thpudb2u1v
q]nt qpp (1p1±uG, 1973):
'uQ JiupqwrnpntipjnGp Uiqhltgrnl it tupupnqlnipjiit chwlwuni-
Y4 qing uniwnQtpuu 4tuing launqnuri, qh tim ptii fi UflLp
lw 4 b fin~w1.tutnp iuuuiniwubtupGwlq tit f fiphi2nulwupu urnpp
tub fupgQ Uh&b ntluuifig U'iuph~tatugG: Ut udthGiul~hi wuihitu!G qw~-
INi dipa fihufitwt tit fiwiwtuhtul, qtuluwuQ htflg tit quluwulQ nirgiug
L4 U pgpqhwg uilGui 4tupuutnw~hwulg hilttlqhginl uIQ~ptul tit
fiu tuinuniQ tutqt, tuniu2Gnpr~ntitiw~p ZnqinlG U~unnlbn% nip
inL- ItupnrP q uitituIiQ ptpb l iti~tuilflv:
[tt- 'UtniibuGnu OiiptitltuQ - XIII-XIV rlq1., tutwtntiwqflp
nth- 4fiwGciu fa'tlInpw ugf - XV r}., tuuripqiii
tap UfiithnG gtwpnqInu - XVII r}., uiturthpqnt
i- Utn gtif utnpfliupn (hitui Uiluiflp t~rgTi1gugf) - XVII-XVIII
ViI qq qpfl , tnuurlhipcpi
itt- 'lt~Inpnu '1,wijiiu~gf - XVIII q~., umuqhtpqni
B2 1Unduth Ulni~thgf - XV rl., ittuni~iuqflp, tnuipqri
Z4ngftuGhtu lniq - XIII qi., tiiuu~ni~iuqp, ituflufunthfw, uiiu-
hIG inhpqnt
Upwibi 'Utunqin2 - XV q~., dwGpuu~atpf, uiwrtipqnt
_ IG U'lituu P~n~u-pthgfl XVI-XVII Tj. winihpqni: U12luiutiht t
fIG Idipcq (Lt~ri4) piurltuptuppt wp ghullntgnuwpiuGnu1i nptiqhu ptp-
W-tn n tt1ltup 4 t ulrl tgutwuiunn4 hipptlG wuttxuGqhit t Qinli tLngw~tlu-
.ig ljtuifitutgth 4IniuI - XVI q., uiurthprnt:
14% "2 VII rpupr u14q1 fl uNiupuflg iptud2tuti p tppt funupinq A
4li- U p4tqfl finttwu~wunpnilawiut Sflqpnntinu thpqfl 4 Gttuitubrni
WU- PflnPPut nt Gl ptu qwrtltut~nuput bg, 4twuuuiiuQrg fituuinnt.l fiptu-
hpq O~ u Utuipqfup ahtn~twp1 tgflG wuptithluG hipq-thpwd~tnnratuG
I- W uanptituG, uinhuwutunptha filwuintutnphii gnpbtp, npflg
itn~n hptud~tinipltw qupqwgnutp Gnp jatu4, uuiwguu4, is dutitu-
fig udjf I1ituttaf~2flhpnql fiItwunpgtub Gnp nfp utnutuqw /unupn-
bfi- U110~ uwQtnutip:
63
Uiwap fitul db2flQwrpluuG finc4np hipqtupgthuuir dtunpphpbg
UhI4Q t, btui t pitupnqlig It# ftirGt4G t %prinp lbui wgrQ:
luptu qtuaahipf Nupthpfg tt GttGop&u4 ip gipp 4~n qtul hG
quQltp:
SUth~phipu~p) 11. hG~p6&wth~ Gi2g1Wu qpp~g:
Un~irntuuii ahnwqgphpuxl Iut Nutuuipnt.ltG iduG 1ST
ltrnpphli niunidGtuuripntjintG, npuihtg, fithQtltln4 (I.. %tutq'uuu-
pulliGri (S'i~fpp thpwducltnu4uG*) ptugtuunpnqrpntGGipr igpu,
4wuprlwuqiup J1wpia It wthfwlpdfiG fuwq lip fituu~wgn.an.Gp
cTlwljhpuq t npu~gtu hipwud2mntlplwG wuptntfwwl wtiut~n g Gtip~g
t~ti4b' hGntugrnG, tuu4GpG t~Itt~ ntnpulbrt tgunwnrl G2wG-
Gthp: 1uwuiqugp atintuqphpr fititnwqwtu tntqntnntalntGithpp
tguwpqhi hQ, np jtuqucgpnq~anGp 24wiuiuixiwt nu1qlntflqn t ni-
Qhight Iuwu unp Situpn~ltigrng 2tUutn ut: (Stu' 0,-. urawaG
~w tulwQtu luwquiliQ Gnttqpnirani~p , tphwQG, 1959):
47 U~pptuuir i lGuunwGh ituuri % tJUlb2w~uQ qptil t uiju-
u41iu. «Sluptu1twQ fituru~uGi dwtuTthuljwqprQ 4hud ntiphG int-
9f-G. Cult tn~uuw4 tulGp' ptuqlgp hrgwuIIM p awiQrg wGuu1wn
tiItwgb'd fr unipp tihtuutnuutu. pu~qf tuutntuGop, nZ qrtuiT Inr-
t 6wpupwwpt, 6(hupltigwG piu~ntnp 4t pwcptlturlpnituq tIrtutul
ihrghrltitug LL QiltuGtatug hipqng d uttuutugntrahuiG, np Iutnlpnuugtu
'uA~pntuduniQp l njiQ, taut hi -gnpr, fiitu~rgipa fituutoplG tip-
qnttpG. tit. quiWuGbi ?1 uu~wli opliGw~4f lw11talt 4twGlptiul W2-
utpfitiu UrunutuGw1l qpthwu2, fitutttIQ qhigt qntituinlG hit nu-
l4tiQGwp qwuprgnij, tit Ining pIuIGg Irunu p 4puli' wlu
oph~uA puiGjup, brpt qgphigix hgrLUG1~UItnp tnwnU np ilin1
U ut~pntut~ntQp Ii lust tit lpQ'np opb Guilft... qnip ptuptluphut tbiG
1885, t2: 254):
" 4iti. tir2G GttpliG t hpud2u-wu~PuuI wG tlwutnlutp, qwpln-
tnpniG tipqhgnrtntalniG~hpr dngquntG l n~4hit t lrwapijdw
fIpu ilb fitutntub n1Qhghil t niunigngpuuljtuQ Q2wQwu ntiPlnG:
U uGpntutlwAG dinrgngbnt~tlpp Ijnf4t hG Gtut luwqqpRl~p:
"24uiltauparnaI [jvlnQ~itu~ (Ptiuptu 2jutuppanul, 1768-1839)
1813-15 rata. utnqibi t fiwilwtu~wuG GnumuqupntipjniQp, npG wGg-
tttu it-ntq rptuw fijiG uwqtuqpntialnitfg rlIhul qgiwlbG Gntu-w
64
__ pnitalnt.G, li Tlptu 2QnflPUrh ugtwfiituQgtig tuqqtufiG dniqngprl~tu-
4w ~tG 4 i6nqttnp tipwudnnttgluQ tptun nid drltnwtGntialntG:
0i o, 4-, qul.i pu-, fun, 0l, uiqw-ai pbuGgnttX t nputjtu tigpnttu-
IN 4wG qin, nti, fi, csiuw, unl, jjw, u/i phalni (1.uilT' c', d', e', 1', g', a', b'):
f u.r'tu~igtuGp " (luuwqbp-fig tu11tuAttG ilwjGtupntiwG*i
UpubpntragntQp lntlu t tniuil 1874 ga. t~?I1ltubQntd:
" %Ihnpq IV (-Phphuuih~jtwG, 1813-1882) - twgurnflul nu t pG-
m~ tpqlit 1866-bG:
Stu- "'. (?fttulGb «2twlGwqgptiwu tipqhgnrtntqartQ u. '1hutnupu-
c4', qb rp fipwutnwpugttt{1l t LutWtp2Wu~gutxnnll 1874 ta.: «Upqh-
LGP gnqjntgabUip upprnl ttntwpwqgb (parlqp1lnal 1; Gwhb fincltnp wn-
i g O~p 4 ahT1rpahp) 1-PG fitut~npp fithwtnupruug4h1 t 1875 ga., 2-ptip'
G- 1878-pa L~utp2tuulwutnntti, 1875-pa fiptutntupu 4it 1 Gl oThw-
i p pw~angpv:
nt- " . Ulni~pQ, ciw4tu~ipwup, GlluItn niap b. UpqGltpxtGp «.u~l
UG, Gtatiu tlWGl4uuG lipqwupwGp*, 4wrttwp~ttwt , 1880 ta. UJ.
1-turrlntuplwagp x u4 tu'w w G awlGaqptiuq thpqtupw~ip~, 1-riQ
il- 1uU, XUpuI14wGGtip, tipqtip 4i twqip, '-1tWqwp~Wtqgw, 1890 ta.,
.& 4nrtngprtu~G thpgtp , flui wp hg ht ainl~gaig Utufiuf Utup-
WRn Iu4tucrn t~tfhwba, 1884 ta. 4 wul fipwwtwpw l~n G~aap:
np " lt' tup CtdulgwGp (1857-1905) ptuiwawGLtwb llwinwup-
14 Ot 04a4 opu lt ltutnupipml t fiwgl tiLtiqh1gw1~wG wuptupnmt-
1tu 1niaahipp dtuTtuw4l:
"5 4Ppputnuapnp -Impw-U'nipqmulr (1853-1902) titibtuntlG in-
u2. 04Ggar fling tipwud~unntqalwQ tgutiintlawgu i2 ptu~agt~u lnt-
nu- 1a~ua Ultu nguunnutlQ in tnwupunttulG lp:
Ulu "~ R tItupw-UntpqtuG t~dxpwbpa t fipwgbp41it 1892 la.fi* l
li~hpp 1'144~iCnpq1tua 6tii p nhiljtnnp U~ppuuutiu Utirlpw-
PrG iliina fipinglipn4: 1893 ta. GnltutppaG inqinin 1 wupawliqlii gp
h1. 9hpin6 tytu2tn~bg:
f 4'tpup ttipupulGin qtgpngpg flidGgti t 1842 ra. lu1du
In ?l~nUtuignt ?in~pnhpn4: bp1~wp ininppip wglG hlii 1; fiinl
I: 12uldn1ig wunin~wqnp o~tuluGliprg UUdti:
l: '4' 44fituGGhiu Uu ti~intpginQ (1862-1932) U lhpuwGtlW
0'4hGinplua fihingnp wqqinl tuGG 1~p:
19.lud2uiftltunf ntuntgb, 4i tipgti1bt futlgpr riUj4wtp ugtui2utnntu-
tu WrPhlnm fiPinqbppqhl 1891 ra.:

-a 65
62 %4npq. UntphQ~lwGg (1847-1930) - 1 tupanrffdnu tz pGtinpgl
1912 pa.:
6'tuptu1ltiG 4uultpVH2 (1820-1907) 4wituInrddnu t pGuipgtit 1892
pa., 1AnGr~uAt1W qplqt t1895 pa.:
41-. U~tupwu-U'ntpqtG ntunL1~tuufrPtitnq U. bL dwliG hp
pmtlu p~Qbuiiw6u wu21uumnntran1Qt, fiptudtupitnul t fiwuing q~uutnuu
pui4i Gthpr~tuGtu utlwG hip luwpwri tnwpptiptul~g 4, tuntuG-
Gtiprig titi1p fli~tqn4, bp tipq~.ujut1f4i fituianaw~pljnul uilQ tqtn-
VA~ I41iPtqn4 fiQltg~htnt qnpb:
"5 -~ Pw1bI4' dI2w1IWc '1winwupwp fipwuttupwupgit t 1877
ra. 4tiQhtnbntd
«' oitupndiutnfl* tupgiuutuwpw~tuw, qptutG-tipud~tntw-
14tuG ututnl4tipLuqtutpr} fitu~qhtu tp: 4puupWWktu4hti t: 1908-1921
aa. (fir4ihurntt, umqwquptl t: a41i~iiubhntd, juidpwqbpG 1:p qVtu-
p1bqhG ILn~tuGfl:
1912 ra.: l-iwqtlu~pujbj~hpG trfQ 'nui~nu U'Utihla 4i U~quiui
UtuGntiiw~i2: UQ1Plltpnrt Gtgutn upti 1p fitutsuipt
f'ih4u fitujiLu ltiuQ rpqgpng Qhph hpwdul~t-rituuwuinntGhipf U l
firtT~rngh ptuptitw41it 1hpwd2utnntpalw r.uuwgwGrtt~wG qnpbrj:
q)pw fiwiutltp p~lpntpawti12 G1uJtlp?}Jnr1 opud2UnuAIU t d1wl1v
(1908 pa.) xlb~ngt~hpn4 tntugwqtgbQ U. UtuGnlt~tu~fl <G~b ,
dnrign~utG, U. U'tu~ndtlwtGl 4 fl'. Ut1iw~ fttkrpwd2-i w6~~
wijpphGw~tpQ. 4 tuiiQ: 1914 pa. pGlllipnlpalndlfl qbtnwIp2tutt 1wq-
tiuw4bputhg rli bi O1pu4: Ibn~npui4n4 aiQijqpwgpQr Grptg
dnqtntprltutwQ lipqtip: U~patuwwluipl wtriwit~lGhipQ tb U1QntLt-
4quA Sh-I~nt~ It UulhpIrrpiQ U'btrJpptu~p: '-Itip~bUu 41ipbau-
G1ig 4 1917 pa. fipupguptullig aitulQuiqpgub Ginrp~ whptu1 tUp-
qthp 4hip~wqpn4: U,. Stip- f4n~qruwutp utnhrbthg 40ipwlt t-
tnlntuithp* 2Wupp1 ubd4)nQIb GqtufwutlIpr fiutp:
"U1Qnl2wuqwG Stip-rktnfgt~uGp (1887-1961) llndtyunqftnnp Lp,
hipwd~tutiin, UituQ1xwgtupd, fiuutupu&tutjtu qnpbr:
69 Uurbtn U'tirpjGp (1880-1933) tiptdUclLt~UqlitXI 1i-, 1 nd-
uunqguinnp, wqqqpwqui, 1ipwud~tnunutltw iXr 2Wupp tupdb-
W.U~gnp 'ui21uu LmTthalnIQUpJ fihrjbiftu4litndhrnuttut pnuqnG w-
2t1pUpU1gUP tftillp:
70 Sutp fitul ulpnc~turn~tt xln~nrtil (dilwuiiawiha) hipqwt
uinbttbntpaluG dwtGpliplig I: t'tugnttlp fir t, bp pintuxGrpualni-

ppltudlj, t1irttludbwI4utG 4 qwppgub~ntppluttp RiI1thgGnu1 t: 0i-
tnupuj 4fil 4 qnpbhptulrGi wupbtuQtipp: Swrjj 4nIqnqg1gnG
66
rainLGp, rftigt w1ugwG. tuqwm n~r, qwuprpnpnpntdlthpl U. qnpbrut-
'92 diG wnhul wuGgnitdhpfi (u~twuudthpt) wnulntin p~n, nlitrG-
urn~tuigbnG fituputntratGp: Su irrn uwuntt p QutpwgutG
ip tpc t, fi muppthpntrjniG 2UPtudIuIQP' Ppu~nGtuquAG I 4k wptupn-
t- rpntplwQ ctdiuGwIq 1.tunupgnuT t nputihu Qiprlbp 1gtnnp G2tuGtu-
4G np uin~thpfG wanwuafi 2nl1, fiu qnprtint fiwudwp: 4twl UnGnrjffq
In hpquuhgbtratG wilu dwGpp qwpcq~tugdtwG dUh 6wui~uiwpfi 1;
tuGghp: Swupp1ipttni1 1G fincjlnp (tyul ~uGtuluG) 4k tu2lupfiflI
377 muiqghp: lJ~nwPQGipn Z~witutnt nt gwnntgqw~tpn4 pGrjiupau q nt
qwupugwt Uk, tip1pnptLiGhpp' utrld, fitugijp: Surtipp 4iptup-
at_ uilpgnul 1G bthuiGw liaatnwupnutnq, fitutikpqwtujlQ uirtgut~l j
)21 Intl 'TpuGi n bthuliG fitul, ui11Utt nfi uutul] idGntlr1j 1kptudfl2-
aut- wrntlaltG ptwpilpwtunG tniuuG Uk, Iru1e Cqprinp twptilgugnt
tnwqhltpp' walrp wupgtuuifl qptuwGgtgwb 1gnrnrpGtkp:
pUtlwpq-tnt (1722-1795):
72 OripPQ (4ngfiuGQiku LiulptuugthtnluG, 1827-1857):
Bb Rfl4WGfl (Uhtiph ti nGituG, 1846-1909):
iu 7 UlniGnL d urtGuIuAfgg~pflg al2rnrlwtuluG wuptuui nt-
bp: unLtdGtuuflpntqa1uirp qptp1til UC% Ln~twGp, U'. U~rltutuGtp, fi-
di aLnwulnul U. 4QntuipiuGp, 0'. U4raLuluGp 4k Wultp: '-Iiuptih t ~i
(i . 0. tultu~if «9~ntutuG 24wuiuur*, bptauG, 1963 pa., U. U~riwiltuGfl
WG Z*Lwj cpntuwGGhipp h. qnuuGwwtuntrltu1]wG tupttiuuip , tptauQ,
-1959 pa., U. 4Qn, wpjtu~l 4tul qntutuGwljuiG tipqhip*, tUp~kwG, 1976
th . Wt2h U~tnrpntQGtkpp 1k tuipQ:
4l '«Gtp fwtjwtutpv uliuti t lfipwunupwl4tip 1861 pattu1rw-
t- GJg 9'Utjplti1 bpwtuGhi Uk X'Urptulnu (a'w26ltu.Gh GwfjuuAhn.-
U- Gtupittailp: Uu u1Q 41g tdu fitiuin Gptu qnlntipjntGG nGrlfituul41k
. t1: 1862 pa. q1Pipuntu5 fiMQTtit t w.4tup fiu~ultG tiPw tu uil]G
p~4tP1nlnG , npif G1LIwU1LUII2p rntulntiplwG tMti tiptwd2lnixff wG n-
Lp, qbG tupIantG tqtitilQ ltp: tnntiG rqtu wGflG 4tput utjnil l~ 4QGup
f1l1Wti wG* ujitupptipt wG fip wmwtpturntp WLu wGqtud S. 2nt-
itf 76qrpiuG Qntruw~ltuG (1837-1898) -- tutrG fiwulgtud tG o-
" i'pl bptuGltuGp (1827-1862) liwiltnahi t 04-1lm~t vw tip-
- qn4:
1J- UniGflf fitugtGtupup G1]unl niGfl liwpwu~tiuin $tuiqtu-
0- Ga XIX gtppf tuphuLuwfi tuunwt~bG 1gntugnqflunpGtipflg ithjflQ,
p6 uuigutil 1; wJkpuilwG pwiunpnfifl Gijwqwtuunidpp 'llhpuniJ:

67
1t bbnqupu 8IiqpwQuGlt~ (1856-195 1) Iufl2fP Gthprlpnu1 ntdb
fiutputuiuG rlit2Gwldnl~puG tipuid~tnntpaitLG tuuuutphqgnu5:
*UqltiuwGqp Utqti~rrultuw (187 1-1928) -- fihu urtlnQ~. Ii-
ptuchnnipra fihtwvrlhp:
O'fnHxlwGnu U tirpwQu (1883-1935) -- fitu rguuAu~wQ rnduwGur
flbdurip:
'z Uwupqgu Pwupluntuw~tiQ (1887-1973) -- pntqiludtup utntir-
btwqnpbr, dtllltutjwpd:
M' ic*tu lipwdh2mn pkinptitnbi1Ghpr pQlipntrplntip* uunihq64ti k
f(I 4qjiunt 19191x.:
"' 4.wtuutnwuGntti jun piwgtlti h21uu~n11riG 6ituutnwutnntijig
fihurn Gnp 4tnu gitupnQnt~ 21rin1.wdndu IiqW4q fiul 1d21 4mlh1P
wup41iutnri ptugtqntlQ GipljutjgntgI Gthpr 2tuuuiuiG fipwugl-
phpu. qnpbrG: UphUG 41njuunrlpthgrQ 'Hdludinu U1rpltu~p (1921
pa.), U4l. UuhtGqfwipltwGp (1924 p.), Utq. U'tqirpwGp 4i 2tutn flipli-
Qtip: U'uutnptuu4tiu [V. U'tilniia 2wui pn4 1921 pa. 2 iultuu-
untu~ntt Rirtsturgpgtg wunuG tipltud2uitu1~uG fiuuuwiuininint'
UphluGr ihpwdcmtw~wQ uumThnrtuQ, npli firispri gjpiu 1923 pa. pwug-
4hig uthuiutpi l4n~utipgwulnphwaG: q1'. UlnitihG 19341& 1. '. &-
ltttilturGntrpt. fqi bp iGw~t~uuqputxtnt tgutntnul t
1919 p. bpl uGnutl tuqcptulG tipwud2inwuGng p-wgtlnt fiutduiu G
tuwlf2hQ fiwGpwugtinntpalwG 1.intugtpntpituQ bptuqpthp dlu-
uhQ: Ujiri qripbi 4t1t4wqpttipnt ituiltup fipw41ip trG utntugtql U.
upfuntrtwplwurj 4 IiGpp '9.. UlntGi:
68
ARMENIAN MUSIC
Discussing Armenian music is the same as describing its
109 history, its development, all the changes it has undergone from
Lbthe most ancient times until the contemporary period.
uqb- Due to economic, political, geographical, climatic, religious
1921 and other circumstances, music is not the same in all nations.
02- To discuss the history of Armenian music is tantamount to
jW-studying all the changes that have taken place in the course of
1IG time in that branch of the Armenian arts, to reveal all the dis-
tg tinct qualities that are characteristically Armenian. And
, because the character of every era and every nation is reflect-
uGed in its music, as the greatest expression of soulful emotion,
t~w thus that historical survey completes the picture of its entire
t U, cultural development. And it is from this greater point of view
that the survey bears an ever greater significance.
In order to do this historical survey it is essential to use both
oral and written -sources. That may be easy for the modern and
contemporary periods (to give concise information and to
come to certain conclusions), but it is difficult and in many
cases even unachievable for the medieval and ancient periods,
for the simple reason that musical determinants such as the
voice itself and its means of perpetuation (through notation),
and especially the absence of a writing system or during the
period of its primitive development, all create obstacles for the
complete realization of our intentions and compel us to suffice
with fragmented and disconnected pieces of information.
As is the case for all nations but especially for the Armenian
nation, the ancient period in music is covered by the thick
darkness' of the historical past and it is impossible to say any-
69
thing with certainty. This much is known to us, that the
Armenian people, like all cultured peoples, had its own songs
which accompanied all the events and phenomena that shaped
their lives, being passed on by word of mouth, reaching
Khorenatsi2 and Magistros (1l' century).
Those songs, for all intents and purposes, as Khorenatsi
himself states, "We have heard by our own ears," and were
called gousanakan (minstrel) or Goghtan songs, and the singers
- gousans (minstrels) or Goghtan singers. The main homeland
for these minstrel songs were the wine rich regions of Goghtn
in the province of Syounik. Both Khorenatsi and subsequent
historians mention the following types of minstrel songs and
stories: novels, tales, legends, sun novels, epics, recitations,
dance songs, show songs, lamentations, and love songs.
Vep (story) - was a versified poem (against its verisimilar,
sometimes entirely imaginary in context) which was told, sung
by, as Khorenatsi says, "song novels." Novelist signified one
who told a novel, a singer (the verb to tell means to sing - tell
a song, tell a game, this man is a good teller).
Zroyts (fable) - was a mixture of reality and fantasy, simi-
lar to current tales.
Yerg banits (epic songs) - was a song that recounted and
praised the life of heroes.
Tvelyats yerger (recitatives') - were songs about imagi-
nary heroes, that were composed in chronological order that
included telling a number. (To tell a number is a certain form
of singing that even today exists among minstrels and in oper-
atic works). Europeans call that form of music a recitative. In
Armenian church music there exists even today the "number"
mass and telling the number of the pokhs'.
Yerg parots yev tstsots (dance and show songs) - were
happy or sad songs' that were expressed by dance or pan-
tomime and were sung at concerts and public performances.
Geghon (ballad)9 - were short lyrical songs.
Mrmounj (lamentations) - were all those melodies that
mourning-and lamenting women, tragic mothers "', would sing
70
he while dancing and clapping around coffins at funerals.
gs "Dzaynarku [elegiac] lamenting women took to bury [him]"
ed (Khorenatsi").
ag Those songs were accompanied by various instruments dur-
ing and after Khorenatsi's time. For example:
tsi
re
'rs STRING INSTRUMENTS
nd
1tn Bambir2 - served the role of today's minstrel saz or chon-
nt goor It had gut strings and was played with a plectrum
nd (mzrab). It belonged to the bandura instrument family which is
is, widespread among Asian nations and recently reached Europe.
"They used to sing with bambirs." Its other type that belonged
ar, to the same family was the metal stringed pandir, which was
ng played with fingers bearing bone picks.
ne Harp or Psalm Player - was a metal instrument (a primi-
ell tive form of today's harp) with gut strings, which was also
prevalent among Asian nations and especially the Jews.
t- "David used to play the Godspoken harp..." "Aman, Asak and
Etan were the head singers who used to sing with metal
nd harps."" In ancient times this instrument was known as a
"Psaltirion" from Psalm. It had ten strings which were played
by the fingertips on both hands. That instrument can still be
gat
found in various corners of Europe, accompanying this or that
rm solo instrument (mandolin or violin).
Some church hymns are called Psalms (Psaltirion) because
r they were sung with that instrument. Catholicos Hovhannes
Bagratuni, during the funeral of King Ashot I, mentions, "They
re played Christian Psalms and sounds of blessings."
Lyre'4 - this instrument was made based on the harp, but its
tructure is more complicated and perfected. In its lower sec-
ions it has echo compartments. In earlier times it had three gut
at trings, but later that number reached eight to ten. It is played
g ith a plectrum.
71
Jnar5 or Chianoor - which must have resembled the cur- si
rent chianoor. It was played with strings like the Arabic ebab. sc
Kanon'6 - belongs to the lyre family, but with a simple G
structure. The word kanon implies that it is an Armenian th
instrument but let's see what foreigners have to say. In ancient of
Greece there was an instrument called the kanon, which had
one string and was called "monochord." But that is not the ot
kanon we know. Kanon is an Eastern stringed instrument sim- m
ilar to the tsitra, according to Rieman's dictionary ". It was nc
played in Arabia and Turkey, then spread to Lesser Armenia, Ai
and from there to Transcaucasusia, bearing different names
among various nations. Aj
Vin8 - was a medieval Saz-like instrument, very similar to
the lute. Armenian writers have passed on very scant informa-
tion about it. The instrument accompanied singing and had
nine metal strings.
Chandir - this appeared in later times and was the pre-
ferred instrument of the Armenian minstrels of the Middle bu
Ages. It combined the utterances of a sad heart with the melan-
cholic sound of the instrument. They have given the chandir asi
many names, such as chang, cheng, changir, chunkir, chnkir, bu
chongoor, choongoor. As to which one of these is more current, Vc
it is difficult to say, but we are using changir, because it has
been recognized as such from most ancient times. The changir er
has maintained its existence until now in distant and peaceful
villages. At
2,
I said, minstrel, take your chongoor
And sing something heartwarming for us, th(
We long for your sweet voice, dr
Say something heartwarming. II=
H. Hovhannisyan
be
Very Rev. Fr. Aristakes Tevkants, who was himself a min- fi
strel, mentions in his introduction that the chunkir was a much en
older instrument, placing it during the time of the Goghtn
72
r- singers. "Which sensitive Soul hummed our myriad national
. songs, the honey-sweet songs and melodies produced by the
le Goghtn singers' chunkiur, which, after a thousand years... for
in the last time; they still enrapture the mind, the heart and soul
nt of many of us."'9
id After discussing instruments that accompany minstrel and
le other songs and dances, we do not consider it superfluous to
1- mention here also those instruments that, although they have
is not accompanied songs, but they have had significance in
a, Armenian life, both in the pagan and in the Christian era.
s Those instruments are mentioned by the following
Armenian historians:
d BRASS INSTRUMENTS
Bugle" - "And Smbat ordered the playing of the brass
e bugles..." (Khorenatsi II, 46).
- "Once again after a small-scale massacre the king (Trdat)
r ascended to the peak of Ardzan and he played the alerting
bugle so the entire army would gather in one place" (Zenob,
Vol. 2, 45).
s "How many bugle-players are in the troop of music play-
r ers" (Eghish6, 167).
I "Vahan Mamikonyan ordered the playing of the war bugles.
And the country shook from the sound of the bugles" (Ghazar,
2, 86).
"And during Artashes' funeral they blew copper horns in
the front side, while lamenting maidens and mourning women,
dressed in black, were walking in the backside" (Khorenatsi,
11, 60).
"...In front of Trdat's coffin there were melodies of God's
benediction and aroma of incense... in the backside of the cof-
fin there were horns and harps, mourns and lamenting maid-
ens."
So the bugle was made of copper and resembled the pre-
73
sent-day military bugle. It was used during war-time and re
peace-time (for parties and funerals). we
Trumpet - This was also a copper instrument. "We hon- ro
ored Trdat with horns sounding loudly and horridly, with va
organs 'and sonorous ghanons22" ("Dashants tought"23). CO
Horn-- Eghish6 mentions this instrument. "A large horn sy
found among the Persians."
Sul
PERCUSSION INSTRUMENTS cre
Mentioned are...the drum and the cymbal. "They Were olc
drinking wine while playing drums and dancing" and "they stn
took great enjoyment from the dancing of the kaqav dances"' wh
and from the minstrel songs" (Grigor Vardapet,
Lamentation 2). sal
Both the cymbal and the above-mentioned trumpet are still nee
used today in many Turkish Armenian churches during certain od
services on feast days. we
It is not clear in what provinces under what conditions and ing
circumstances, under whose authorship and with what the
melodies these above-mentioned songs were sung during the
pagan period. Also were they strictly popular or secular songs, and
or were they at the same time spiritual, sung at only public }he
gatherings or also in pagan temples. We can say only that prior lam
to the historical period epic legends provided musical material, iral
the real result of which was the appearance of epic songs and
oral tales. In the course of time these songs were cultivated and be I
refined and they later formed the foundation of larger artistic ay
works - oral stories ("such as those gathered by the royal son
courts"27) about some real historic figure. a'
The introduction of Christianity in Armenia certainly sig- con
naled the persecution of everything pagan. The diverse epic, nc
heroic, royal, joyful and sorrowful songs that formed the spec- agi
trum of Armenian life in the pagan era must have been sub- ng,
jected to the most severe treatment by dispersers of the new
74
religion, in order to uproot the old and establish the new. And
we can see from all those books that were "gathered by the
royal [pagan] courts" and burned, burying in their ashes those
valuable treasures of Armenia culture. These books may have
contained the pagan songs notated in the khaz (music notation)
system of the Assyrian and Zend languages.
Changing the life of a people is not easy. Customs that have
survived for centuries are not readily forgotten, particularly if
they are associated with a nation's unique and characteristic
creations expressing the deepest spiritual feelings.
Like individuals, nations are always struggling in that age-
old conflict between old and new, and we can even see that
struggle after the introduction of Christianity in Armenia,
which continues for many centuries.
Unaware of an afterlife this song of life (pagan) finds its
salvation right in this world 2x. Even though it was oppressed, it
nevertheless was sung in the XI century and even in later peri-
ods. So it is not surprising that our Christian clerical authors
were not able to suppress their anger and indignation concern-
ing those pagan songs and melodies that had been popular with
the people for centuries.
Fr. Vardan Hatsouni in his valuable work entitled "Meals
and Parties in Ancient Armenia" writes sympathetically about
the diatribe of our historians, as if he is reading Khorenatsi's
lamentation for everyone, while we consider it completely nat-
ural for people seeking a secular good time.
"I consider the subject of these ballads and party songs to
be loving, romantic, and lyrical. Eghish6 refers to people who
have become enslaved to the 'lewd sounds' of those 'pagan
songs'...The son of the Alans characterizes the songs sung at
a wedding party as 'pagan' and 'witchcraft.' Shnorhali also
considers those 'minstrel songs' as witchcraft ("Universal
Encyclical," 42). And from later centuries we have 'joyful
aghs' (lyric poems), in which the old filthy lyre is still play-
ng, and can be compared to the 'filthy ballads' of the
1yzantines...and to the 'shameful songs of the Caesarians."'
75
"The real minstrels," continues Fr. Hatsouni, or at least a
good number of them, had a worse position than instrumental- t
ist which the loquacious Mandakuni has portrayed in such live- t
ly fashion. Some of them whom we might also call "charla-
tans" (Oskeberan Encyclical, 851), as they were actually called s
(Parpetsi, 511), contained filthy and stupid words. The a
Catholicos would hear "much jesting, foolishness, lewdness, r
and emptiness" in the mouths of those debauched minstrels.
Mandakuni's eloquence proves that those "debauched min- n
strels" were none other than actors jokingly revealing the evils (
of their day. Even in the presence of the Catholicos they would
present comical scenes. And a little later the same Mandakouni e
adds... "one must lament the senseless pranks of lewd and pos- e
sessed invitees to a party who are satiated like demoniacs, and
who scandalize everyone with filthy mouths, swearing about o
some people, gossiping about others, creating enmity among w
some and satirizing others...And our royal kings (and catholi- o
coses) and noble princes viewing that stupidity 'were prone to a'
laughter' (as Pavstos might have said)," stated Fr. Hatsouni. in
That information that resulted in anger among the likes of s(
Fr. Hatsouni nevertheless is valuable and worthy of praise. pI
That anger emphasizes even further the circumstance that as in bi
ancient also in medieval times there existed chansonets Pf
(singers with loose morals) who combined their song with the lil
music of our minstrels, receiving praise as vardzaks9 from our Pe
authors. Fr. Hatsouni gives additional information about them. In
"The artists...quite often appeared at parties. Arshak was often tq
the target of gossip for his extreme excesses at orgies listening CO
to the songs of female minstrels." (Khorenatsi). m1
"They were drinking... wine...with whores, male and
female minstrels and pranks" (Pavstos). the
"Some of the noblemen and soldiers violated the devoted fo1
places of God with male and female minstrels" (Nerses the ca
Builder, 52)31. At
In particular the Christian era places a strict separation
between religious and secular songs, and the religious songs ml
76
serve those struggling in defense of the new ideology against
the more popular secular songs that have survived for cen-
turies.
After speaking largely about secular music, we now con-
sider it necessary to move on to the religious and stress that our
authors have made certain references to religious (church)
music.
We expressed our opinion about primitive pagan religious
music when talking about the secular, so let's move on to the
Christians.
Our religious music being strictly Christian in origin, nev-
ertheless one should not think that it was void of pagan influ-
ence or that it doesn't embody pagan elements3.
In the early Christian period as our spiritual fathers were
obliged to change to Christian certain pagan feasts and rituals
which had deep roots in the nation and created the very essence
of that nation (maintaining the old form but giving it a new
meaning), so too would they alter the religious melodies. And
indeed there are such sharakans (spiritual hymns) and religious
songs, the nature of which leaves no doubt today that they were
pre-Christian and pagan ("Aravot Louso"32 and others). That
branch of music - the religious - has certainly had a more pros-
perous life in the Armenian reality than has the secular, and that
life has been secured and placed in the care of many assiduous
persons. It was the monopoly of certain privileged, secure,
influential groups of people who even had the rule of the coun-
try in their hands. In its essence it was not subject (under given
conditions) to new, outside influence and it was maintained
more unadulterated, and it has reached us in present times.
As great a role as the religious institutions have played in
the maintenance of Armenian religious music by adopting uni-
formity in all areas (in various parts of the country) the appli-
cation of the music notation system I, II, III tones33, etc. for
Armenian songs played a similarly great role in the future34.
Already some research has been done on the Armenian
music notation system. The issue is an extremely specialized
77
one and the last word has not been said yet, thus it's left for us
to remain silent for now and return again to our historiogra-
phers to see what information they have given us about reli-
gious music (in the Christian period).
5TH CENTURY
There is a reference to religious music notation as, early as
the 5th century. "Sahak the Great conducted effective classes,
with the help of many Greek scholars, because he was
extremely learned in music notation" (Ghazar Parpetsi, 11/25).
Besides that reference there is Movses the Poet's "Words rep-
resenting musical notes."
7TH CENTURY
In that century during the reign of Catholicos Nerses the
Builder a certain arrangement of "sharakan songs" was defined
(because of the difference in the sharakans sung during
Vardavar), about which Kirakos states: "Each church conduct-
ed a worship service every day according to the meaning of the
day..." And to do that "they chose wise men, who would visit l
every place in America and they certified this same arrange-
ment."" t
8TH CENTURY
The "great philosopher" Stepan Siounetsi, a student of s
Movses, studied in Byzantium "both the Greek and Latin lan- r(
guages. He was fluent in the arts and in writing in a philo-
sophical style." "He composed religious songs in sweet
melody - both sharakans and ktsourds6" (Stepan Orbelyan).
The same Stepan Orbelian writes about his (Stepan's) sister
Sahakadoukht - "She was a sister (to Stepan Siounetsi) who
since a child had received the conduct of monkhood and was
78
isolated in the gorge of Garni, living with a hard life of asceti-
cism: her name was Sahakdoukht. She was very learned in the
musical arts and behind a curtain she would sit and teach many
and composed sweet sounding ktsourds and melodies", includ-
ing 'St. Mary,' which she created in her own name." That is to
say the first letters formed Sahakadoukht. From that century on
the Siounik region became a center for musical education.
9TH CENTURY
In the 9th century we see a reference from this same
Orbelyan about St. Tatev (in the Siounik region).
It was full of philosophers of musical songs, deep as the sea,
it was rich in the number of schools preparing celibate priests,
as well as painters and incomparable writers" (Chapt. 40).
10TH CENTURY
In the 10th century Asoghik talks in the following manner
about the prelate of the Kamrjadzor Monastery (C, 7): "Behind
him was the scholar Samuel, talented in his knowledge of the
Bible and in music..."
I should not'forget to mention also Fr. Anania of Sanahin,
the author of the Ode to Shoghakat and Deacon Hovhannes the
Philosopher and genius, who wrote the Ode to Mighty King
Trdat, and the holy Catholicos Nerses and his wonderful Sahak
and Mesrop who composed the Ghevondian sharakan with a
sweet melody and appropriate words, the beginning of which
reads, "The holy church today was radiant" (Kirakos).
11TH CENTURY
In the 11th century there is a reference about Theodore
(Alakhosik) (Catholicos Toros of Honi). In the year 544 the
79
great musician and pillar of the holy church, Catholicos Toros,
died and was buried in Honi, next to Catholicos Sargis." (Both
Sargis and Toros of Honi are not placed in the order of authen-
tic catholicoses).
This century is considered a flourishing period in music. In
this century there already existed in Sanahin, as Grigor
Magistros has stated, oratorical and musical schools. "And
those who entered oratorical and musical schools staged per-
formances; competitions, and beautiful vices."
And, as Magistros acknowledges in his analysis of gram-
mar, in that century or shortly preceding it there were certain
reforms "in Armenian versification and measure of poetry and
song, influenced by the Arabs. And so, as the Arabs became
thus knowledgeable in the arts, so too did you, through great
effort become educated in the language and literature and then
in the arts."
And then he tells how the Arabs were at that time so well
educated and knowledgeable "of mathematics, music, geome-
try, etc."
In that same century there is reference to a musician named
Daniel, to whom Grigor Magistros had sent a letter.
12TH CENTURY
In the 12th century Yeghia Vardapet (from Havouts Tar)
made certain arrangements "in his monasteries (writes
-Kirakos). He beautifully arranged the order in his monastery so
everyone was singing together.""'
Here there is already a reference to polyphony, and it would t
be impossible for the leaders of our spiritual life and the arts,
who had studied in oratorical and musical schools in
Alexandria, Byzantium, and Greece, not to employ to this or
that degree the principle of polyphony in our lives and in our e
schools. The 12th century has given us two great figures in the S
realm of song and music. One was the reformer of Armenian to
80
church songs and melodies Nerses Shnorhali, and the other the
learned song writer--musician (the author of "Khorhourd
Khorin" - Deep Mystery), Khachatur Taronatsi (Kecharetsi).
During Shnorhali's lifetime there were already shortcom-
ings, distortions, and innovations in Armenian church songs,
melodies and rituals, and the need to correct, put in order and
arrange for one, universal form had been perceived for some
time. With that purpose in mind Shnorhali first entered the
Makinatsi and Taghinetsi monasteries, where Armenian church
songs, melodies, and rituals were more authentically and faith-
fully preserved. He deepened his knowledge there and wrote
an admonition on preserving those melodies and rituals, which
is entitled "The Order of Church And Rituals...Until the Ninth
Hour"" by Nerses, Catholicos of All Armenians, who returned
from the Makinatsi congregation, making up for shortcomings
and correcting mistakes.
Shnorhali was not only the creator of numerous sharakans
(religious hymns), but also the first secular minstrel. A min-
strel scent is already blowing from some of his sharakans.
After following on this secular path were the clergymen
Khachatour Kecharetsi (the great musician Khachatour
Taronatsi), Stepan Orbelyan, Hovhannes Tlkourantsi, later
Catholicos Simeon, Patriarch Avetik, Petros Ghapantsi and
others", who rejuvenated the extinct Armenian poem and song
and with their lyric poem formed a bridge to the secular song.
The secular nativity songs composed along the lines of
Movses the Poet's "Christmas Song" (see A. Sedrakian's "Lyre
of the Moush and Van Armenians" and G. Sherents' "Saz of
Van") provide the most prominent examples in strengthening
that bridge.
Among the famous minstrels we forgot to mention Arakel
Siounetsi, Fr. Hovhannes Plouz, Mkrtich Naghash, Bishop
Minas Tokhatetsi, Nahapet Kouchak4, who in clerical times
emphatically stressed the rights of the secular and forever
secured its liberation from medieval hindrance, for the court
troubadour and patriarch of all the minstrels, Sayat-Nova, the
81
"khalki nokar" (servant of the people), who entered the run-
down shack of a peasant or laborer as a consoler of the people
and as a teacher. Later the baton would be passed on to Shirin
and others. Ri
Nerses Shnorhali was the creator of beautiful and sweet th
melodies. Kirakos says about him, "...He composed many
sweet melodies and sharakans in Khosrov's style42 for the co
church...lyric songs, and verses, since he was responsible for
the resurrection blessing in third chord4 .... He preached about sol
the Divine Liturgy, its sweet melodies and its mystical
sharakans. He also spoke about two gandzs"." He wanted to Fa
say that Shnorhali had composed utilizing the Khosrov's style, "re
which was altogether different from the form of other Doi
sharakans. And we can truly see a balance and a logical con- ou
nection between melody and words, something that is absent in pal
other cases. Shnorhali was a contemporary to the Arabs and the Ali
Jews in regards to innovations in versification and the musical (do
arts, which are mentioned in the Jewish Khosri writing. Grigor (w(
Magistros also mentions the Khosri writing4 of
The second prominent figure of the 12th century is Sev
Khachatour Taronatsi (Kecharetsi), who was the holy and virtu- =Se
ous prelate of the Haghartsin Monastery famous for his knowl- 1),
edge, particularly in the musical arts. Kirakos Gandzaketsi adds, fon
"There was a celebration of the holy church (Getka) and of the mu;
holy priest Khachatour Taronatsi, prelate of the holy monastery ciar
that was called Haghartsin, a holy and virtuous man and a arra
famous scholar, especially in the music arts...He brought the ore(
khazes (music notation) from East and he enlivened bodiless ed
melodies46, creating works of genius that were not widespread in Sha
our world at that time. He composed and taught many.. .and that
then took a well deserved rest after working very hard."
So it appears that the music notations were initially brought OUr
from the East by Khachatour Taronatsi, lifeless melodies were or
enlivened by him and spread throughout Armenia. o
In the history of Armenian music this figure is perhaps the
greatest.
82
13TH CENTURY
J' In the thirteenth century in Cilicia, during the time of the
Rubinian Kingdom, the monastery called Arkakaghin47 became
the center of Armenian music.
It was in that school that "They created modulating and
e complex melodies (resembling divine services, they called
)r manrousmounk48), as well as ktsourds along with complete
it songs."
al While thumbing through a medieval research manuscript,
to Father Alishan was ecstatic. In his "Sisvouan" he mentions,
e, "range of songs, that are being noted with khazes and symbols
r not in one, but in various ways, and more than seventeen vari-
' ous aghvakan melodies were noted on the margins of the
in pages." From the seventy types of melodies mentioned by
e Alishan, the revered author of "Ayrarat," such as agavni
al (dove), anmeghuk (little innocent), darbin (blacksmith), lalkan
r (weeping), hoviv (shepherd), etc., it appears that the majority
of the melodies were secular. Alishan also gives the names of
is several musicians (from the same Cilician period), such as
a- "Seniors Avag and Toros," "Venerable Nerses" (son of Levon
I- II), "Toros Tapronts" (the head priest in the kingdom and the
s, former ambassador to England), "the brilliant and sagacious
ie musicians," "Hovsep, the greatest among an array of musi-
y cians, who was the head musician in Drazark (Van). For the
a arrangement of sharakans he mentions "Grikor Khoul, the hon-
ie Ored teacher, musician, and first secretary of Sis," who "delet-
;s ed the unnecessary parts and added missing parts of
in Sharaknots, the copy of which calls Khlktsi" (Sisvan, 517),
id that is to say, as an arranger of sharakans.
After giving some desultory information from the works of
it Our historians regarding singers and musicians of both reli-
"e gions and secular music in ancient and medieval times, let's
iove on to the modern and contemporary period.
83
MODERN AND CONTEMPORARY PERIOD S'
After the fall of the Armenian state one period (until the E
beginning of the 18th century) of Armenian music has left no A
apparent references. From the beginning of the 18th century
our so-called period of renaissance again uncovered that tc
branch of the arts from the ashes, and we witness hove cl
Armenian songs and musical notation (khaz), that had been ol
long forgotten, produce new arrangers and creators. In the
beginning of that century, Hambardzoum Limonjian49, a clerk A
in a church in Constantinople, who was familiar with the lan- cc
guage of old music notation accommodated those musical
notes (khaz) to the current European music system, selecting sc
seven (poush, ekordj, vernakhagh, benkordj, khosrovayin. in
nerknakhagh, paruyk) characters, which form the Armenian bc
music notation system"', that is well-known among foreigners. Ai
particularly Turks, who still to this day employ that systern
known as "Hambardzoumian." in
Being the main reformer of the Armenian music notation
during that period he with his system (notating and dissemi- gr
nating this or that religious and secular song) not only secured
its existence, but also its raison d'etre. That system developed. A
spread, and had its followers.
Leaders in Armenian community life and the arts studied cu
that system. Later, during the Amira era, Baba Hambardzouni a
taught Armenian notation to the famous Douzian family. The a
priest of this same household was Fr. Minas Bzhshkian, who
had a reputation as a well-known musicologist in the Crimea. uir
Trebizond and other areas. io
A short time later the second generation made its appear-
ance. Nikoghayos Tashjian' of Constantinople published his t
"Textbook of Armenian Musical Notation" using that same u'
tur
adapted musical system52. eS
Music lover and sharakan scholar Catholicos Gevorg IV'.
seeing a variety of notation systems in the Armenian church in r
various regions, tried to bring about general uniformity and

84
sought to perpetuate our ancient sharakans through notated
publications. Thus, he invited the musicologist Tashjian to
the Ejmiatsin as a teacher at the seminary and a specialist in
t no Armenian musical notation.
tury In a short period of time Tashjian taught Armenian notation
that to many students and with them he notated all the Armenian
low church sharakans, songs, and rituals and published the results
)een of this difficult task".
the That venerable publication of religious songs with
lerk Armenian (Hambardzoumian) notation, despite all its short-
lai comings, is worthy of admiration.
ical Armenian notation became a required subject for all
tins schools and for the clergy. Soon that subject aroused great
in. interest. One after the other song books appeared containing
mian both religious and secular (national and popular) songs in
ers. Armenian notation5.
tern Thus, the reformer Tashjian emerged as the leading figure
in this renaissance period in the history of Armenian music.
This great transformation in Armenian music produced
tion
great interest and a theory of followers.
ired Many people were not content with the narrow definition of
Armenian notation. Because of their artistic inclinations and
ped. desire to acquire knowledge, they moved to educational and
lied cultural centers and studied musical notation using the wide
)unm array of European music. The European music system, which
had been refined for centuries and had established a certain
artistic and scholarly discipline, by virtue of its cultural tri-
umph was going to expel the weak - Armenian musical nota-
nea. tion - from the scene and in its place the European was going
to rule in dominating fashion.
ear- All those roads that are closed to money, weapons, brutali-
his
ty, and to fire and the sword, are always open to peaceful cul-
n~e ~tural captivation, and the only way to counteract this is by
establishing peaceful, but more forceful methods. But
V
h Armenian life, deprived of such counteraction, would dozily
h in accept that powerful mind's powerful system. The sworn
and
85
defenders of the old religion, to say the least, tried in every
manner to resist, but that resistance was powerless in stopping
natural progression, bringing about the inevitable result.
Tashjian, the greatest ambassador of Armenian musical
notation, had an immediate student, Makar Yekmalian6, who at
the St. Petersburg Conservatory had already tasted the
European system and realized the great advantages it had over
the Armenian. He didn't consider himself a worshiper of his
deified idol. On the contrary, he demanded smashing that use-
less thing.
Left to wage a struggle against this powerful trend were
idolaters with entrenched traditions, deprived of the real means
of resistance.
These people, who lacked any preparation in their knowl-
edge of the arts, would naturally utilize the excusable and inex-
cusable means that were characteristic of the weak-pretense,
deception, exploration of the people's most sacred feelings,
with the sole intent of creating a resistant spirit in order not to
be swept up into the flood waves. And that's how to explain the
motto - "There is one God, thus church music must also be
monophonic" - at a time when the pioneer European dissemi-
nator Kara-Murza" appeared (in the 1890's) with his poly-
phonic mass in Ejmiatsin, in his capacity as a music teacher at
the seminary".
At the same time the Nersisian School" board of education,
which had handed over the governance of the school to one of
the leading figures of his time, Hovhannes Spendiarian" of the
Crimea, invited Makar Yekmalian, who had graduated from
the St. Petersburg Conservatory as a theoretical musicologist,
to teach music and religious and secular choral singing'.
Yekmalian, who had already prepared his mass for three
and four voices and which had been performed under the arch-
es of the Armenian church in the capital city of St. Petersburg,
with the maestro as choral director, and which had earned the
praise not only of colleagues, but also of the conservatory
board and the music capella, attempted to do the same at the
86
very main church monastery in Tbilisi, hoping to receive the sup-
ping port of the prelate. -In the monastery's mother church the mass,
sung by the Nersisyan School choral group under the direction
sical of Yekmalyan, not only did not bring about displeasure among
Zo at the people, but had just the opposite - an enthusiastic effect -
the thanks to which the prelate, Bishop Gevorg Sourenyan' (the
over present catholicos of Apostolic Armenians) appealed to
F his Khrimyan Hayrik and received permission to publish his mass
use- for three and four voices. Khrimyan, along with his approval,
sent the following encyclical to Yekmalyan. "It is desirable to
vere find the basis of Ancient Armenian melodies of our ancestors,
pans that were created and sung over the years and recorded in
musical notation (khaz), the real significance and the certain
)wl- sounds of which remain a mystery to us. We sing in the tradi-
iex- tionally learned manner but we don't know if we are singing.
nse, precisely the way our ancestors did.... With this encyclical we
ngs, give you permission to complete your work and use it in our
t to church. At the same time we appeal to our able and pious com-
the patriots to generously support you, so that you will be able to
be publish your work...63"
mi- This wonderful work by Makar Yekmalyan was published
)ly- by an extremely ardent and pious Apostolic Armenian by the
r at name of Grigor Meghvinyan.
In 1896 that work was published in Leipzig-Vienna and
on, entitled "Singing the Divine Liturgy." The appearance of
of Yekmalian's developed mass with its polyphonic religious
the style replaced all the other similar but less valuable works by
orn novice composers. Disappearing from the scene were Kara
ist, Mourza's' (Caucasus), Chilingiryan's (Western Armenian -
Smyrna and Constantinople), Fr. Chorekchyan's (Nor
ree Nakhichevan) and others' polyphonic masses, as weaker
,h- works, that could not withstand the competition (Yekmalian).
rg, Besides the mass, Yekmalyan has also written polyphonic
the sharakans, such as "Norahrash," which is unpublished...
)ry Long before the Yekmalyan mass (in the 1880's), by the
he invitation and at the urging of Archbishop Ignatius
87
Kioureghyan (presently an abbot), "The Armenian Church
Liturgy" for piano and a three-voiced chorus, was written in
Armenian and Latin by the Italian composer Pietro Bianchini,
along with a few accompanying sharakans". Armenian reli-
gious songs were more faithfully preserved at the Mkhitarist
monastery at San Lazarro for the simple reason, that, while
Catholicos Gevorg IV was trying, with the aid of Tashjian, to
have the singing in the Constantinople churches recorded and
popularized, just the opposite happened. The old Armenian
church melodies brought to San Lazarro from Ejmiatsin by
Mkhitar the Abbot, have been maintained sacredly and immac-
ulately at San Lazarro.
Komitas Vardapet and Grigor Mirzaian Suni have made t
attempts in this regard. Komitas' religious pieces did not find
success and acceptance for the simple reason that, as a contrast
to Yekmalyan's European church style, they brought nothing r
new to the spirit of Armenian music. Instead, they intended to
stress the artificial dominance of another foreign style c
(Wagnerian) in Armenian religious music.
From the musical works of G. Mirzaian in the religious c
realm we have under our disposal "Christ is revealed among us"
and Yekmalyan's requiem "Ee Verin Yerousaghem," both of s
which were published (for four voices) in "Gegharvest."'
Grikor Mirzaian was one of the musicologists who promoted a
purely national direction in music. According to music critics,
in the above-mentioned and in other publicized but unpublished
songs, he approached the subject matter with more serious
interest of purpose, bringing to light in more striking fashion the
unique elements of national music, in many cases refuting the
traditional forms of polyphony, generally accepted in music.
SECULAR MUSIC t
Secular music is divided into three main parts: peasant,
which represents the lowest form of music, minstrel, which is
88
ch the middle form, and urban, which is the most sophisticated
in creation.
ni,
'st PEASANT
ile
to The author of the peasant (folk) song is unknown. That
nd song is as pure, simple and clear as the creator's soul. What we
an mean is that, although the author is unknown, nevertheless the
by song was created by someone. His primitive creation passed by
ic- word of mouth through classes of people, where it was refined
(unauthentic parts were discarded and new things were added),
de taking on a certain form, that is only characteristic of that peo-
nd ple, who gave it that form (folk style). That is why the folk
Est song represents a striking expression of the soil. That song is
ng not artificial, it is spontaneous, a real expression of a nation's
to emotions and moods. Every phenomenon that is an expression
'le of life has its corresponding song. For example, horovels of
planting and threshing. Songs of planting, harvesting, milling
us the grain, threshing, transferring the chaff, songs of the mill,
of baking bread, gathering and watering the flock, fixing the cart,
separating skin of the wheat, pitchforking the hay, lullabies,
praising the children, dancing. Wedding: praising the bride and
a groom, satirizing the wedding party, wrestling, mourning and
s, joy, feast days and holidays (Vardavar - Transfiguration,
Ascension, Navasard - pagan new year, etc.).
LIS
of Many people have been involved in studying the melodies
of these songs. Particularly worthy of attention are Komitas
Vardapet (Caucasian songs) and musicologist Grikor Suni
(Caucasian and Turkish Armenian songs). "The Armenian
Musical Society"' has contributed somewhat by gathering and
recording on a phonograph some songs of Shirak. Benefiting
this cause were musicologist Anushavan Ter Ghevondyan61
and Nersisyan school teacher Spiridon Melikyan61. The late
t' Kara-Murza was the first to arrange and harmonize folk songs.
89
His role was not so much in arranging songs, as much as
spreading the idea of four voices among all classes of people.
In this regard a few of Yekmalyan's polyphonic songs cre-
ated great interest in intellectual circles, making the arrange-
ment of folk songs in great demand. We must give the laurel
for meeting this demand to our two musicologists: Komitas
Vardapet and Grigor Suni.
We have already discussed somewhat attempts made by the
above-mentioned to make Armenian folk songs polyphonic.
but that does not signify the last word regarding polyphonic
forms of folk music.
The Armenian people still have great expectations of those
two unique musicologists as conveyors of the Armenian spirit.
The people still want to hear their last word.
ASHOUGH MUSIC
After the singers of Goghtn during the Middle Ages...our
troubadours appeared...
Taghasatsutyoun" in the Middles Ages developed so much.
that even our leaders were enchanted by it, such as the
Catholicos of Sis Hovhannes Tlkurantsi, and our King Hetum I.
It continued until the 18th century, when a demand is felt to lib-
erate the Armenian song from the clergyman's cell and make it
accessible and alive for everyone; in other words, to restore the
sweet memory of the singers of Goghtn. Personifying that idea
in the new era were Sayat-Nova" (18th century), and later -
Shirin' (19th century) and in the contemporary period - Jivani
with their followers, who represent separate minstrel schools. In
order to stress further those ashough (minstrel) groups, we will
note in a general way their four periods.
90
ch as
ople.
s cre-
ange-
laurel
mitas
)y the
ionic,
honic
those
spirit.
...our
nuch.
s the
Im II.
o lib-
ake it
re the
t idea
Ater -
vanie
is. In
will
Singers of Goghtn
Birth of Christ
Spiritual Poetry
Taghasatses (minstrels)
Khachatour Kecharetsi
Mkrtich Naghash
Minas Tokhatetsi
Kouchak Nahapet
Ghounkanios
Naghash Hovnatan
[Asoughs]
Ghouko
Nitayi
Toujar
Ashugh Baba
Kamali
Shirin
Azbar Adam
Haves
Jirani
Malyoul
Yanghouni
Ghayrati
Shayti
Khertegh
Jamali
Fizahi
Fahrad
Khayyat
Amir-Oghli
Dosti
Sayat-Nova
Shamchi Melko
Cherkez Oghli
Tourinj
Keshish Oghli
Miskin Oghli
Yerem Oghlar
Mayif
Alvan Oghli
Yaghoub Oghli
Noumay
Sazayi
Paytsar
Jivani
91
The Sayat-Nova school generally represents a pessimistic,
romantic trend, which bears a truly Georgian inspiration.
The Shirin school, on the contrary, represents an optimistic
romantic trend and bears a Turkish inspiration of the rose and
the nightingale.
The Jivan school represents the national inspiration of our
renaissance - a nationalist trend.
Moving on to the subject matter and general characteristics
of the Armenian minstrel's songs, they are divided according
to content and their chronological development into:
1. Pagan-heroic
2. Religious-ethical
3. Romantic
4. Chronological-descriptive
5. Advisory-oratory
6. National
The first one appears in the Goghtn period, the second in
medieval ballads, the third in the modern and current periods,
the fourth in the medieval and modern periods, the fifth during
almost all the periods, and the sixth in the most recent period. t
As to how the minstrels used to sing their songs in the Goghtn t
and medieval periods, studies have not been conducted, as we
can say nothing certain about that. Even in the modern and cur- c
rent periods very minor, almost unnoticed work has been done t
on melodies, and what has been done applies more to the forms
of songs and versification, rather than to melodies. For exam-
ple, we know that minstrels have 1) dyoupeit, 2) gazel, 3) di-
vani, 4) ghoshma, 5) dastan, 6) semayi, 7) myoustazat, 8) shar-
ki, 9) moukhammaz, 10) ghelenteri, 11) darbedari, 12) yedakla-
ma, 13) bayati, 14) gyaf, 15) shaki, 16) taghala, 17) bayatavour,
and emanating from them 1) the dyupeit of Kurdistan, 2) the I
Van dyopeit, 3) the Topkhana divani, 4) the Kyouniat divani, e
5) the Mousertes divani, 6) Byupayi divani, 7) Nakarat divani,
8) Osmanlou divani, 9) the Marakya divani, 10) saghr divani, 0
etc. forms of songs that bear foreign names, but how those s
songs were sung, to this day no study has been conducted. a
92
We know only that the saz, baghlama, and kamancha, and
more recently even the tar and violin have replaced the previ-
ously used instruments (bambir, etc.) of the Goghtn singers, as
accompanying instruments in the modern and current periods.
They have had perfectionist instrumentalists about whom leg-
endary accounts have even be created, such as the renowned
saz player, minstrel Ghoubo (who studied in Turkey under the
famous Mirza Pasha), who when playing, had birds perch on
his saz. "Keshish Oghli would cut the membranes of his saz
and then play" indicated that he was a professional instrumen-
talist. The musical Nitayi played tunes that moved the strings
of Sultan Mohammed's soul and saved a group of young men,
including his own son, Isahak (the future minstrel Nomayi),
who were being taken from Erzurum to Constantinople. The
sweet tongued and dispositional Shirin was a completely fiery,
rabid, passionate, and protesting instrumentalist, etc.
The melodies of Armenian minstrel songs are an unex-
plored field, that is worthy of serious study by our Armenian
musicologists74. It is that study which will bring out that dimen-
sion of Armenian secular music in all its beautiful and charac-
teristic forms. We are awaiting that beautiful day.
The third subdivision in secular music is the urban. At last
a branch about which to this or that degree something substan-
tial can be said.
URBAN
(most sophisticated creation)
This branch of music was operated only in recent times.
During the period of renaissance, Armenian intellectual circles
expressed interest in this form of music, as well. Those intel-
lectuals, having the kind intention of establishing similar music
in Armenian life, rather than appealing to the unadulterated
source of Armenian music - the people - to borrow from them
and using that popular material as a basis to create a more high-
93
ly artistic structure, instead, on the contrary, they opted to place
Armenian words under this or that work of European music,
altogether unauthentic to the Armenian soul. This is how to
explain the appearance in Armenian words of Verdi's Traviata,
other operas, and some musical pieces by various foreign
musicians ("For our ancestral nation," "March gives us spring
flowers," "Lord, protect the Armenian nation," etc.).
After such a period we see the publication of a periodical,
"Haykakan Knar" (Armenian Lyre)" in Constantinople, where
leaders were already showing more serious intentions. It is
here that we encounter the names of Tchouhadjian6,
Yeranyan", Papazyan", and others, who became advocates of
having one's own, rather than borrowed songs. Tchouhadjyan
even went further with his attempts to create the Armenian
opera, "Arshak II." Besides "Arshak II" Tchouhadjyan wrote
"Leblebiji Hor-Hor," "Arif" ("Kyose-Kehya"), and a series of
opera - operettas, urban marches, romances, and dance music,
all taken from Turkish life (and in the Turkish language), but
all of this did not find any substantial respect; because it basi-
cally took the wrong direction. The mistake lies in the fact that r
1*
Tchouhadjyan and others did not arrange songs emanating as
real expressions of the Armenian spirit. These songs could
have served as material for the greatest creations with musi-
cians giving them corresponding forms according to their
broad world outlook, thus becoming the outstanding voice of .
the national spirit in the period of Armenian sophisticated
musical creation, something that is stressed even today in the
history of national music in the development of great music.
Instead, these composers were altogether estranged from the
Armenian life, spirit, and style. Blandly following only the
European style (remaining captive to their traditional forms),
they created melodies that were utterly unattuned to that life, in
which they should have found fertile soil, that would grow and
bear fruit and glory.
A repetition of this approach to Constantinople Armenian
life was brought to the Caucasus Armenian life by Kara-

94
ace Mourza, who, besides his innate talents, had neither higher nor
sic, average musical training...
' to Since the works of a more seasoned musicologist like
ita, Tchouhadjyan did not register success, it is only natural that
ign Kara-Mourza's works were subjected to the same inexorable
ing state as his predecessor's. Among our educated musicologists
in this period was Yekmalyan, who had been very active in the
cal, field of Armenian religious music, but besides his musical edu-
tere cation and training, he lacked a creative nerve and thus was
t is unable...to make his mark...
n76, Worthy of mention is...Nikoghayos Tigranyan", who creat-
; of ed piano works for eastern (Persian) and in part Armenian folk
yan songs...
ian After Tchouhadjyan, until the beginning of the 20th centu-
.ote ry (1900), existing secular musical works (and, in general,
of Armenian creations) presented a most dismal picture. In the
sic, first day of the 20th century it was as if we could see rays of
but light on the Armenian horizon. Interest in Armenian secular
music was developing and the number of people studying
hat musical theory and composition in the capital cities was
as increasing. Attempts were noticeable to be free of the old
uld reigning blandness and to create something if not Armenian,
than at least eastern.
The works (solo songs) of musicologist A. Spendiaryan"
ieer (from the Crimea), "Ay Vard," "Mi Lar," etc. and G. Mirzaian's
of "Yete Mi Or," "Indz Mi Khndrir," etc., even if they did not
ted
stress the Armenian, they at least characterized a certain east-
;ihe trn trend.
the Here more serious intentions are already noticeable, accom-
panied by talent and paramount musical training.
the Komitas Vardapet, who has played a great role in collecting
is), and arranging Armenian folk songs, remained, like Yekmalian,
in Unproductive in this realm. His attempts to create new
nd songs...in the likeness of Armenian folk songs, were, in
essence, unable to enrich this realm. There was lacking any
ian great artistic structure, there was no development of

ra-
95
forms...the difference was only that the folk building was
whitewashed and made suitable for housing, but such ameni-
ties are far from being highly artistic. The peasant building
always remains peasant; it never turns into a church. But it
would be different if we used the stone, brick, and wood to
build a church. And finally, it is the simple truth that a copy
cannot be as good as the original. It is better to have a bad orig-
inal, rather than a good copy.
In 1903 G. Suni's "Akh al vardi" and then "Mayisn yekav"
and other solo songs opened a new era in the world of c
Armenian professional, secular music. Here the composer, free
from the influence of both classical music and the Russian V
school, brought forth the beginning of forms and a style p
authentic to eastern and Armenian life. If one can really say
that there exist the fruits of Armenian secular music, then its h
founder and outstanding representative must be considered G. tc
Suni. ii
Unfortunately, unfavorable conditions in Armenian life did
not afford Armenian musicologists the opportunity to publish n
all the feelings that had accumulated in their souls. er
The future Armenian reform movement, the sparks of df
which we see now, perhaps will afford the opportunity to bring ar
all of this to the surface and this give it a complete critique.
After G. Suni, musicologists R. Melikyan", Anoushavan
Ter-Ghevondyan, S. Barkhoudaryan82 appeared on the
Armenian musical horizon one after the other. Melikian (in
training and talent) was a fan of the European classics
(Mendelssohn). Recently one can notice in his works the pres-
ence of new musical elements, but those elements have not
been refined yet and it is difficult to say where they will take
the composer. Ter-Ghevondyan bears a severe Russian influ-
ence (Rimsky-Korsakov), although.. .he shows a tendency to
approach the Armenian (that is with little eastern intention), as.
for example, in the solo song "Kaynel em" (I am Standing).
Barkhoudaryan is a happy exception among the three.
Because he passed through that Armenian music school, he is
96
vas altogether the opposite of his two friends. He does not bear any
,ni- influence. He is unique and is as outstanding a representative
ing of the eastern style, as G. Suni is of the Armenian. This cir-
t it cumstance is actually a happy phenomenon, because there is a
I to bridge to pass from the eastern to the Armenian. We have
apy hopes that this authentically eastern musicologist will cross
rig- that musical bridge of eastern nations and reach the Armenian.
Barkhoudaryan writes...for the piano. His "Caucasian
av" Sketches" must be considered to date the most beautiful and
of outstanding example of piano composition.
Free Besides the above-mentioned musicologists the musical
,pan works in this realm played more of a negative, rather than a
tyle positive, role in Armenian life.
say Concluding our remarks about Armenian music we have
i its hopes that as the Armenian nation has its unique place in archi-
I G. Lecture, painting, and literature, it will also have a unique place
in the music arts, with her own characteristic.
did The appearance of the Union of Armenian composers3, its
lish national musical direction, the intention of the Armenian gov-
ernment to open an Armenian conservatory of music, and the
of decision to invite the best representatives" of Armenian music,
ring are a confirmation of our remarks.
van
the
(in
sics
res-
not
ake
flu-
( to
as.
ree.
e IS
97
NOTES
A part of Grigor Suni's archival materials (manuscripts of hip
musical compositions, letters, memories, articles etc.) is kept at State
Museum of Literature and Art of Armenia. Composers relatives arc
keeping the largest part of his archive in the USA. The copied xer-
sions of the study "Armenian Music" and his autobiography given to
museum by his relatives in 1997 for keeping at Suni's personal per
sonal file, are used while preparing these manuscripts for publication.
'There are no written examples of ancient Armenian music, whi
medieval music has not been completely read as of yet. Nevertheless
musicologists have succeeded in bringing to light pages from oui
musical past. Valuable in this regard are the numerous articles and
works by Spiridon Melikyan, Hakob Hovhannisyan, Aranm
Kocharyan, Alexander Shahverdyan, Kristapor Koushnaryan, Robert
Atayan, and Nikoghos Tahmizyan. We can name a few: Robert
Atayan's "Armenian Musical Notation," Yerevan, 1959; Spiridon
Melikian's "Sketches of the History of Armenian Music," Yerevan.
1935; Alexander Shahverdian's "Essays on the History of Armenian
Music," Yerevan, 1959; Kristapor Kousharyan's "Questions on the
History and Theory of Armenian Monodic Music," Leningrad, 19'
(in Russian); Nikoghos Tahmizyan's "The Theory of Music in
Ancient Armenia," Yerevan, 1977.
2 Suni has mentioned Movses Khorenatsi because he was the first
to present a comprehensive history of the Armenians as accurately as
possible until his time period, the Fifth century.
Grigor Magistros was one of those mentors who played a huge
role in summarizing past accomplishments and reviving music edu-
cation.
" The gousans (minstrels) in ancient and medieval Armenia were
creative and performing artists - singers, instrumentalists, dancer.
storytellers, and professional folk actors in public theaters. In the
early Middle Ages the word gousan was used as an equivalent to the
classical Greek word mimos (mime). A. Koushnaryan has designate]
98
z
L
two groups of gousans. The first were from aristocratic feudal lord
dynasties and performed as professional musicians. The second
group was comprised of popular, but illiterate gousans. Acquainting
oneself with the colophons in the works of Armenian historians
shows that the reaction of contemporaries was very contradictory.
The gousans were sometimes criticized. sometimes praised, particu-
larly in medieval Armenia. The adoption and consolidation of
Christianity had its standard influence upon minstrelsy, gradually
f 1 bl'altering its ethical and ideological orientation.
State S Goghtn was a region in the Vaspourakan province of Greater
s are Armenia and bordered the province of Syounik. It was nicknamed
Nvr "ginevet" (winy) because it was a famous winegrowing area.
cn wo 6 The name tvelots or tvelyats has various interpretations in
per Armenian folklore. The most probable explanation is recognized as
ition Manouk Abeghian's theory, that is to say, that the name tvelots songs
xhile has originated from the word to tell (a story). Grigor Ghapantsyan
1e1es' compares the Hurrian tiv and the Armenian t'ov-em. In musicology
a ou' it has one meaning, which is equivalent to the term storytelling.
s and ' Pokh is the name given to the separate parts of lengthy units in
kra'i church music.
ober The concept of tsouts, tsouyts, tsoutsk in ancient and early
oberi medieval Armenia is on the one hand tied to rituals, on the other hand
ridon to theater.
evan. Vardan Hatsouni suggests that geghon (ballad) originated from
enlda the word geghgegh (trill, humming) or geghgeghel (to trill to qua-
n the vel).
19-1 ' During the burial ritual the leader of the crying women in
iC '" Ancient Armenia was called yegheramayr (mother of elegy).
" In ancient times singing at the burial rituals were specific, par-
first ticipating women, who would perform songs of lament. The word is
dly a interpreted also as tragic actor.
2 Bambirn or pandir, and in other versions pantir, pandern,
huge bambir, bandern, bandirn. It is considered a string instrument that
ede has a handle and is plucked. It was no longer used after the late
Middle Ages. Information has not been preserved regarding its spe-
We. cific use, its number of strings, its tuning. According to another the-
jcers ory, the bambir is considered a percussion instrument (using the root
n the bamb as a basis).
to thc ' The quotation is from Ghoukas Injijyan's "Hnakhosoutyoun
nated
99
Hayastanyayts Ashkharhi" ("Archaeology of Armenia", Venice,
1835, v. II, p. 294).
14 Knar is the old Greek lyre, a stringed, plucked instrument. The
structure of the four-stringed and later the eight-stringed lyre (or
Armenian oudi), mentioned in ancient Armenian literature, is not
clear. Sometimes it was likened to the jnar, harp, and psaltery.
15 Vardan Hatsouni, comparing the words jnarahar or jnaravor
with classical Greek, translates them as kitarahar, taking into
account kiph which was a typical, antique, plucked instrument. It was
used both as a solo and as an accompanying instrument. The first was
called kipharetica, the second kipharodia.
16 The kanon is widespread in Arab countries, as well, where it is
called kanoun.
" Karl Riman (1849-1919) was a famous German musicologist.
One of his numerous works is "Musiklexicon" (Music Dictionary),
Berlin, 1882.
8 The vin is sometimes liked to the lyre, when the Middle Persian
word vin, which means "some kind of lyre," was accepted as its root.
Sometimes the word is likened also to the Sanskrit vina, which also
signifies "lyre," and was used in written Vedic sources as a general
name for string instruments, and in modern Hindi (beginning in the
9th century) as a name for a wind piped sitar. Vina is an Indian instru-
ment, which has a wooden hollow frame, technically rich, and has a
resonator made of dried pumpkins or some other material.
' The quote is taken from Fr. Aristakes Tevkants' "Meghedik.
Taghk, and Songs" (Tiflis, 1883).
20 The pogh (pipe) is a general term given to the epiglottis or
mundshtuk wind instruments in ancient and medieval Armenia. The
pogh was not only made out of copper, but also wood, bones, or
horns. The quote is taken from Ghoukas Injijyan's above-mentioned
book (v. II, p. 252, 253).
21 In the past the organ was called a multi-wind flute (or Pan's
flute). Some sources also speak of a water sounding organ.
22 It is supposed that ghanon is the well-known kanon.
23 "Dashants Tought" is the treaty signed by King Trdat III and the
Roman Emperor Constantianos, according to an unconfirmed report.
The quote is taken from Gh. Injijyan's above-mentioned book (v. III,
p. 253).
24 The term galarapogh (bagpipe) can be found in Armenian
100
medieval literature. It is believed that the instrument is of more
rhe ancient origin. This is how they called some bone, wood, or copper
wind instruments with twisted stems. The quotation is from Ghoukas
for
Injijyan's above-mentioned book (v. II, p. 253).
not 25 The kaqavich (dancer) was an actor and solo dancer in a pro-
fessional theater in ancient and medieval Armenia.
vor 26 The quote is taken from Vardan Hatsouni's "Foods and Partying
nto in Ancient Armenia," (Venice, 1912, part 2, p. 205).
xas 2 Movses Khorenatsi, "History of the Armenians," 1,14.
2s Grigor Suni has in mind the difference in the pagan ideologies
of the idealistic - Christian and materialistic. Nevertheless, paganism
it I as a religion, is also a worship of the supernatural and offers its def-
inition of the afterlife.
29st. In the old days vardzak was the name given to a female min-
ry), strel who performed primarily but did not compose. The word
"vardzak" has several connotations - female minstrel, who danced
;an and sang, a woman with loose morals, a mime or prostitute.
Iot. " The quotes are from Vardan Hatsouni's above-mentioned book
ilso (p. 210, 212, 215).
eral ' Because Armenia was located at a political, geographical, and
the commercial crossroads, in political and cultural contact with both
tru- east and west, naturally it was subjected to influences, and depending
is a on the historical circumstances, sometimes eastern, sometimes west-
ern influences have appeared in the different periods of Armenian
lik culture. The rich, flowery style in our poems speaks to our adoption
of characteristic eastern principles, while laconicism of musical
or thought and the logic behind composing the material speak to our
the adoption of the western. By becoming Chrisitan, Armenian music
or acquired a new personified content, but how could it renounce that
ned rich heritage, that was not an influence of paganism, but its legacy,
refined and coordinated in its modes of expression and developed
in's musical though. Finally, thanks to Mesrop Mashtots and Sahak
Partev, after the invention of the alphabet, the basis of Armenian
Christian music became the melodies developed in Hellenistic
the Armenian, due to which folk-minstrel musical thought and a har-
ort. monic system formed the unique monuments of Armenian religious

III, music.
3 The author of the poem "Morning of Light" is Nerses Shnorhali.
ian D The eight-tone is a melodic system in the medieval Christian
101
music arts. It is tied to that theory about typological melodies devel-
oped in the past of several nations. During the first centuries A.D.
that theory was recreated in Christian music as eight voiced,
although, in reality, more than eight melodies were joined together.
Over time eight voices, specific to western and eastern Christian cul-
tures, emerged. Later, in the eastern areas several national eight voic-
es, including also the Armenian, became separate. After the invention
of the alphabet, Mesrop Mashtots and Sahak Partev reassessed the
old principle of melodies that existed in pagan Armenia and
rearranged the mostly biblical songs and typological melodies, edit-
ing the first large segment in the Armenian eight tones - 4 stems (1st
voice, 2nd voice, 3rd voice, 4th voice), 4 sides (1st side, 2nd side, 3rd
side, 4th side), and melodies of two keys. The Armenian eight tones
has experienced a great path of development and has been rearranged
on a few occasions. The eight-tones theory and its practical applica-
tions were codified, under the leadership of Grigor Tatevatsi, at the
music school at Tatev University. A brief summary of this has
reached Grigor Gapasakalyan, Hambardzoum Limonjyan, Niko-
ghayos Tashjyan, and the present day.
34 Musical notation is an Armenian medieval musical writing art
form, which began to develop in the 8th century. The idea and its ini-
tial realization is associated with Stepanos Suni, Grigor Grzik,
Anania Narekatsi, Khachatour Taronetsi, Nerses Shnorhali, and oth-
ers participated in its future development and dissemination.
However, by the 17th century the key to reading those characters was
lost and even today there are numerous manuscripts in musical nota-
tion which remain and enigma in musicology.
3 The quotation are taken from Ghoukas Injijyan's
"Hnakhosoutyoun Hayastanyayts Ashkhari" (vol. III, p. 120, 143).
36 Ktsourd (attachment) is the most ancient type of Armenian reli-
gious song. It has received its name from being attached to biblical
psalms and blessings, and consequently sing as attachments to them.
It originated in the 4th-5th centuries and until the invention of the
alphabet it was communicated orally. The first ktsourds were gener-
ally short songs comprised of three verses. Developing and increas-
ing, ktsourds were collected in collections called ktsourdakan. From
the 12th century on they were called sharakans, and consequently

ktsourdarans were called sharaknots. In literature we sometimes
encounter the word ktsoord, which is the same thing as ktsourd.
102
I
" The melody is a type of Armenian medieval music and was
vel- sometimes used to mean dagh (musical poem). According to
.D, Nikoghos Tahmizyan, the church poem, the musical poem, the
hed, melody, and the andante formed the scale. The church poem was dic-
her. tatory; the musical poem was emotional compared to the declaratory;
cul- the melody was even more emotional, while the andante concluded
o"- the scale.
lion 38 The quotations are taken from the book "Hnakhosoutyoun
the Hayastanyayts Ashkharhi" (vol. III, p. 116, 143, 144, 145, 189, 210).
and " About this work see Nikoghos Tahmizyan, Nerses Shnorhali:
dit- Composer and Musician (Yerevan, 1973).
(1st 4() Stepanos Orbelyan - XIII-XIV centuries, historian.
3rd Hovhannes Tlkourantsi - XV century, poet.
)nes Catholicos Simeon - XVII century, poet.
ged Patriarch Avetik (or Avetik Yevdokatsi) - XVII-XVIII centuries,
ica- scribe, poet.
the Petros Ghapantsi - XVIII century, poet.
has 4' Arakel Siounetsi - XV century, bibliographer, poet.
iko- Hovhannes Plouz - XIII century, bibliographer, philosopher,
poet.
art Mkrtich Naghash - XV century, miniaturist, poet.
1fIl Minas Tokhatetsi - XVI-XVII centuries, poet. He worked as a
zik, secretary at the archiepiscopate in Lemberg (Lvov) and for that rea-
oth- son they sometimes called him Lovandatsi or Lehatsi (from Poland).
lon. Nahapet Kouchak - XVI century, poet.
was 42 In the beginning of the 7th century under the patronage of the
ota- music loving Persian shah Khosrov II Aprvez in Ctesiphon, singer
and instrumentalist Borbad and his colleague, Sargis, who had been
in's specially invited from Armenia, undertook the task of arranging and
). theoretically giving meaning to Eastern songs and music. After this
eli- the development of music received a new impetus, and the new style
ical which emerged with the standards of the time received the name
em. Khosrovian.
the 43 Third side. It is one of the melodies of the Armenian eightvoic-
ier- es, which has the following scale.
,as-
itly
nes " Gandz is one of the genres of Armenian medieval religious
103
music. It originated from the sermon and its author was Grigor
Narekatsi. Songs that were based on the words in his songs were
called gandz (treasure).
" The quotation is from Ghoukas Injijyan's above-mentioned
book.
46 In the archives of Komitas there is a short study on musical
notation, where, relying on the explanations given by Grigor
Gapasakalyan in "Music Book," Komitas Vardapet developed the
concept of bodied and unbodied khaz (musical notes) as one expres-
sion of music-intonation that is as characters in the modulation
sphere. Subsequent research of manuscripts with musical notation
has shown that musical notation existed in Armenia long before
Khachatour Taronatsi. (See Robert Atayan's "Armenian Musical
Notation," Yerevan, 1959).
a About the Arkakaghin Monastery see Ghevond Alishan,
Sisouan, Venice, 1885, p. 254 (in Armenian).
48 The Armenian medieval musical-ritual book, the flowery musi-
cal collection was called Manrousoum (Short Study). Its one section
had pedagogical significance. These manrousoum collections were
also called khazbooks.
" From 1813-1815 Hambartsoum Limonjyan (Baba Hambar-
tsoum, 1768-1839) created an Armenian music notation system,
which became the transition between the old musical notation and the
lined system, thanks to which a respectable heritage of national folk
and religious music was preserved.
so This system correspond to the European do, re, mi, fa, sol, la, si
bemol sounds (or c, d, e, f, g, a, b,).
Nikoghayos Tashjyan (1841-1885).
5 Nikoghayos Tashjyan's "Textbook of Armenian Music Nota-
tion" was published in Etchmiadzin in 1874.
" Gevorg IV (Kerestejyan, 1813-1882) - was elected Catholicos
in 1866.
$4 Nikoghayos Tashjyan's "Recorded Music of the Diving
Liturgy" was published in Vagharshapat in 1874. The first volume of
"Music of the Divine Liturgy" (including also religious poems and
melodies) was published in 1875, the second in 1878 in
Vagharshapat. In 1875 the "Sharaknots" (Collections of Hymns) was

also published.
" Grigor Suni probably has in mind Yeznik Yerznkyan's
104
3rigor "Recorded Children's Song Book," Vagharshapat, 1880, A.
were Baghdasaryan's "Children's Recorded Song Book," Part 1,
sharakans, songs and poems, recorded by Deacon Sahak,
ioned Etchmiadzin, 1884 and other publications.
56 Makar Yekmalyan's (1857-1905) polyphonized Mass is per-
isical formed today during Armenian church services.
rigor 57 Kristapor Kara-Murza's (1853-1902) greatest contribution to
d the Armenian musical history was the infusion and dissemination of
pres- polyphony.
ation " Kristapor Kara-Murza was invited to Etchmiadzin in October of
ation 1892 by Aristakes Sedrakian, rector of the Gevorgyan Seminary. In
fore November of 1893 he was relieved of his position.
sical S The Nersisyan School in Tbilisi was founded in 1824 through
the efforts of Bishop Nerses Ashtaraketsi. For many years it was one
han, of the leading Armenian educational institutions.
' Hovhannes Spendiaryan (1862-1932) was a distant relative of
musi- Aleksandr Spendiaryan.
ction 6' Makar Ekmalyan was invited in 1891 to teach music and con-
were duct the choir at the Nersissyan School in Tbilisi.
62 Gevorg Surenyan (1813?-1930) - was elected catholicos in
bar- 1912.
tern, 63 Khrimyan Hayrik (1820-1907) - was elected catholicos in
I the 1892. He issued the encyclical in 1895.
folk " Kristapor Kara-Murza, after studying M. Yekmalyan's newly
published work, stopped performing his own harmonized version of
a, si the Armenian Mass and became one of the first to undertake with his
choir the extolling in proper fashion Yekmalyan's version.
6 Pietro Bianchini's version of the Mass was published in Venice
ota- in 1877.
66 "Gegharvest" was an artistic, literary, and musical journal. It
cos was published in Tbilisi from 1908 to 1921, but printed in Venice. Its
editor was Garegin Levonyan.
ing 67 "The Armenian Musical Society" was created in Tbilisi in 1912.
of Its organizers were Romanos Melikyan and Azat Manukyan. The
ind society intended to gather together music teachers from the Tbilisi
in Armenian schools and fundamentally improve music instruction. For
vas that reason, through the efforts of the Music League (1908), that pre-
dated the society, Azat Manukyan's "Pnjik" (Bouquet) collection, A.
n's Manukyan's and R. Melikian's "Musical Alphabet," etc. were pub-
105
lished. In 1914 the society organized a scholarly expedition to Shirak.
The folk songs of Shirak were recorded on the phonograph. Members
of the expedition were Anushavan Ter-Ghevondyan and Spiridon
Melikyan. The latter transcribed and published the recorded material
in 1917 as "Songs of Shirak." A. Ter-Ghevondyan created a series of
"Studies of Shirak" for symphonic orchestra.
68 Anushavan Ter-Ghevondyan (1887-1961) was a composer,
musicologist, pedagogue, and public servant.
69 Spiridon Melikyan (1880-1933) was a musicologist, composer,
ethnographer, author of several valuable musicological works, and
one of Komitas' finest students.
* The tagh is a genre of Armenian professional monodic song
writing. Its origin is ancient and its content and advanced melodic
line remind one of future vocal and instrumental arias. The charac-
teristics of the tagh are its expansiveness of form and volume, its free
melodic style, the existence of flowery and instrumental-like pas-
sages, its richness of rhythm and intonation. The tagh is basically a
lyric song, but it is not canonical like the sharakan, and during the
service it is performed as an insert to communicate a certain splender
to important holidays. This genre of Armenian monodic song writing
has progressed greatly through the centuries. There are two types of
taghs - religious and secular. The first kind are expansive and devel-
oped in volume and in structure, the second are terse and concise.
Taghs are reproduced in solo performances with concert-like luster.
They are not only Armenian, but also generally the highest form of
monodic music, while Grigor Narekatsi's daghs are the unsurpassed
monuments of that music.
" Sayat-Nova (1722-1795).
7 Shirin (Hovhannes Karapetyan, 1827-1857).
Jivani (Serovbe Levonyan, 1846-1909).
Of Suni's contemporaries the following have been involved in
the study of minstrel music: Garegin Levonyan, Moushegh Agahyan,
later A. Kocharyan, Robert Atayan, and others. It is worth noting
Robert Atayan's "Minstrel Havasi," Yerevan, 1963; Moushegh
Aghayan's "Armenian Minstrels and Minstrel Music," Yerevan,
1959, A. Kocharyan "Armenian Minstrel Songs," Yerevan, 1976, etc.
' "Armenian Lyre" was first published in 1861 by Gabriel

Yeranyan and Nikoghayos Tashjyan. However, six months later its
publication was halted. In 1862 the "Armenian Lyre" music society
106
rak.
hers was established in Constantinople. Its purpose was to keep the musi-
don cal spirit among Armenians alive. That same year the "Armenian
:r°ial Lyre" periodical began publishing again, this time through the efforts
s of of Tigran Tchouhadjyan.
76 Tigran Tchouhadjyan (1837-1898) - the composer of the first
ser, Armenian opera, "Arshak II."
" Gabriel Yeranyan (1827-1867) - was famous for his song,
"Cilicia."
ser,
" Suni probably has in mind Karapet Papazyan, one of the first
and western Armenian composers of the last century, who created the
"Armenian Theater" orchestra in Constantinople.
oCnlg " Nikoghayos Tigranyan (1856-1951) - played a great role in
dic Armenian piano music.
'ac- "Aleksandr Spendiaryan (1871-1928) - the founder of Armenian
free symphonic music.
as- Romanos Melikyan (1883-1935) - the founder of Armenian
ya classical romances.
the 82 Sargis Barkhoudaryan (1887-1973) - multi-genre artist, peda-
der gogue.
ing "The Armenian Musicians Theorists' Society" was formed in
of Tiflis in 1919.
tel- " After the establishment of Soviet rule in Armenia the new gov-
ise. ernment embarked upon a course of inviting the best representatives
ter. of Armenian culture and the arts to Armenia. Moving to Yerevan
of were Romanos Melikyan (1921), Aleksandr Spendiaryan (1924),
;ed Spiridon Melikyan and many others. Particularly through the efforts
of R. Melikyan the first musical institution, the Yerevan musical stu-
dio, was established in Armenia, and this became the basis for the
opening of the state conservatory in 1923. Grigor Suni, in his 1934
autobiography which he sent to Rouben Terlemezyan, talks about the
in government plan of the first Armenian republic to open a national
in, conservatory of music in Yerevan. Sargis Barkhudaryan and Grigor
g Suni himself had received invitations to organize that task.
n,
c.
el
is
ts
107
<U~bbUWiA'flFfM'VU>
/ziuigq i wLLIIp WLLAL fldi7nL ff (WIrL-p, 8ni/4wU t u
b'~rw~)'nP fl""1 ZWJ 4P 4IiqJPJ 4P 7WL/fLJF UljalP w1,lL-
fnii4ufl fiWquiPW/jUWlf/p u~Iun, 4bqhi/w4g uJwPn4w~pui VWq-
JfW/J/IL U7wu[ q ig /4 It"~ LLz< 4ILpqw Utj u4- U"h [W 4
fd'nnj t- Wwr/JZ Pl" wgnLfJ (aLuI) L wirnLq rw fi 1I/1b-
YffIL (IjLptjuq -), 'P nLUnL5/1fJ ~tf 1LJZnMq 4wfdw if/ IL Plwu--
j/i: llpb4~ t 4w/znL-by Ubbi ifi LL (In q4uAli~u t4LAwrh-
gnLii, nfl JwJmrrfi/t ~p l np u JLfr qwln zwfi~ (r1 fwiPuui4 --
i'h,-s bg1-p UL Snfn/gqP iWfui] pufi~iwuUhq~r:
r7,bhL~ t 1876 JL/,i UIIU LjwIILtdIrf l0--li 9Wlhl"4JCTLLII/ fLpL
9Mm141 f r'IPLJLi IL Iffpl417L LJIf I i4LLWLULLJInLJ OnnjUWIj
b'pwcIruiu41u1i Wfnl~t- 4pfI lL17J/lr (PnA wLnp)7 um7Wt~i~ j
bhlqLI gni~nL~bWlfg I p1lflWC.ty'"41LbJ dLLfftrnqjc i JWL4JLI~LL
ILZLw4WLflP rnLlfuAJpfw p uLP~ ii~ijL/, /4ijui> t I& wdp12
Jnqn'/Pq~fi 4p/ lIJnLdp/ uuLuwp4wbi tP 1883 [jL fife JLi4bilif t
/jblhw4uwi ifuuiing, Lr wfj4LfJJULU4LL4 itLl5/15M IrflL~lU di"
Jw&"i /nnLJf fluI~Ipfuui7Jul5 uw~ "n~Inm Ufl/fpbhfL.L U4Jrf a fibi/
UI(I~LI/ pf An4 I1blIin y, Jfhlhnlif t 4UJ~fi IL nFljf '-1/lt1I~f
mrihuww1, 4wLp4LL ifuafip /i~f lnw4 nUnWPILLw& t bI~
I/UfpIsr jJWfnL fll uwhptflJrj/iL-p Uf4ijIfL- itm if/i n1u/, IL
fd" dwfAnLJf bILJ UJILLJ~g/i uflflf IIJi j~IILJY&LJflJfL t ffr
108
Lilfl Zr(wO'~flU~LJjbLLI7 (4LLJJIW4W~j dtuJJlJLj i1(nL fiLJ1J): u pdcW-
JilfiJ1ql ru 1tfjr'rJ5. flLUflLrS&i 14 ilnq~wJnu] fawdfsup ir~ w~l--
I01iM 9U'II'IP"P' r- J wfl. filwff JIwllJJ 7JI( IlLLJ--
ginI7JILJ, 11M17p/Iihpi/ ppu711Wwuiw uJw mwlLU i jl JTImnj,
1889 p.l /ji~Ii pw a" t~1J1IfL 4 (z'LJ /;A WJ w JJ1LuJ4 LWJ Impv
kfu1,1~ f('49"JI7lJ 4, flwp w tuf r LLrW LJJ(L1~ 4 ww J 4'Iw j4
/udpw4ffnL fJhwu, "pp Lfqg /4I, pt4 9011""L !!LJpwphwj(ILI IA /14'
'?wlr Wwpingu UwpfnL fuuAJIhwlJ: 1890 [JL/P bq/ipwl,4wi/i opg A-
jil Z Pwr1w if/i wuturw4nI/ wpduAiwfinLJ 4 nuI~hp/if 1wr'uqiuIii
Inn~p7b1LF/' Wip4uqwJ'ihL-rn/ /11 [J11L('( 'Ippi(41(':
Ipaps IlrIi.Phg/ Zpgwfifife: 1891 10JL/11 7-1JlJ 4 1 Iif/iwa-/ifli kf-
"
pw1I~ (lsw/iL f71 (it' jIt" .111 "'11 u iZL-wbp w~~ur 4 7117
11lif u, t 4" / w w~ u Ip-n p i r tg, liii if/71 w ji w u tw7 o/J _
(Lu"J'"~ J1 " ujjl LU LJ71lf 7Inj"iuju c w Jl w Iw,14m wif
j!LLL qw'nf qwultbmhU UJfwUJWL7JlL I Unqjnifnll Ulnqnifn--
LW]~~, Y ii11,/ 417wrL/p~nLf 4 LLJ nc1 ,jrpu wlwtir h(1WC [''rfIrW
7 fP 'Ii ~Iwp fIL qirnLth11' 4uI7 oHruiftI7Iui, rP'4/i' 71(LLJ
*I24 w4wr g: UJI~IL7Ji7 &n1 q (,rwt ri~qpiL[J LLLf(' r
Ii- '("1 U/ tlii 4 LLIL '1LJIL7 IL 7iii i 4UJLLL
L7J) 4 1,, fiud, rL r l wii 4t ~ , 7 /ib I q/i7Iw tnp f1 i nzLtJ/~iL7
J ''w llfiJi77Ip IL 4LIw(Iu ifip 4b-r nL LIJUIL ucIJ 4 hn
109
IrpLLulJ, ArL4 JfhrLLwI~wfi--npIrrjw4jwb Unqncfn iLtp "'/rnp-
IfiLLI 1JjiLI~w15p/, JffLLJLLLIJf Il hpp JfwnJuJJfrw 1L4 t /i1 dn-
qzil yj.w4wfr] hJ&Ptliih qlptuj 11prw I~wznwpw&} (<U(1(-1Jjp#7LJd)
fihj~iwfJ/iLnLJI1(1jj IL ULi(L1r171J, npr t1bnqPu bpijw4W-
29w1JbL1(1IInfJIILU7J 1lL"17L5h UW(WL1 'Lip't* 1IJWLIU7L11nLhJ
Jw~nIrrL7LJ 4- I7LP11rflfI hJ1 IrZPJLmfcIhIJ1 uwtfu1ww it
4pL/JIJ710wJ(1hjruIPt bpwJ r fi/umwtfnp 4~wgw--WnLLgrw1 (JZw-
I !L~L4 Wqi"r1j1 .bfL[hLJ g11 yfflIph lfLjflj ): 9yi/uj~ng uWh-
(YcufrU jjwLJIbL 4oO IrJI1LIh LL 4L1lb1LLJ ir)II1h"bwLnn ftmubp
(wppwhL t iA fwr iow j/~w fali ,w~~i~~)JJILJwic~fwfrL fhw1 ituiu
ulpr mnrt i/ bwb: Unqndfnb nJ JpUqif 11irf it Jfnmlh 71-1f
wLJJ liz rwr JbWLLwqiLw4LI1 1u Jg~ p14/ rf.LL ff wg uqwj''p
&f"nLJ bp w ~ti (/1gldhinq tfli [rLLUL ] [1uiwJ/ tffrt h pwdcf1nnL-
U'IJL.[1L11j ZU,m uPLUlf fim 4l~ripunq U1 tnUI 1 fUJfUL tf tp. <<14-
i17L t4? LfnfltLr~ff, 11(1 UuLwLLJ IT h1lp, uii I~dlJWLrnIL/Jh1jThy
Jff4 L frnL/fJ/ iLfiAJ )), fi11 nor jw'pW-Wi~L"WJ/lJf Lbnwrgl
tnLJ"IL~~ liz lw uLlj fi i2fiLL!:
4,ujiw.-U'nLp qtul 'i/ t~iip/l mrwL u - /upLL w~pq nJJt~LP , -
YgU4r lIz nLCftf. fo jjiti tLnLJf, 017 lw jwj k/, b oJu, Ur.. f/w k'
4I W 9ItlrII17,fL j1tf /Lp hp tcII muJul Mb4fr~nLf0'fI&~ fiL ilLUIL-
If' rpnLflJtlrlL:
wJ*.), ((41nq '"Pty, uw p>Vp, <<bp/ i wppJrL oj, oJ ~: bpn m-w-
4gpi 0phrtopj tom), [Jt" w jpIripg z tfi dL~ftd[ /4] Sw j11 cpdk,4i
iftu IL / , b4Jw tufi5r~ 'flLffItlIWLIr ipili LLILf L 1p h-
p~wdfmmrWl i I~ULZWff 4 !LJpLILI1W5bfIL 4iiiituiji IU1nlru~p'Lb-
inti U'fwl wp]r b4lIL'UIIWIJ/1 IspLrtiuW4LLII pwpdlp uLwwu'pL1
urL lwfIJ tU1ILLL, 9 fpitip j p "fiptLact lvpw jnpn L/J[fiJJ fJ
/ JL/tp, ' qnLp4l &tU1jwpL1qnfi LfLr, JUIL/iLgwfI y 4inliuhpWWPL
110
t n~jqnL/JpiLbJl, JIfifJiJLiii~Jq wL U ~ iJi i / it ~g1wU?, u~p JIM 4tiiiLtnp
Fc l')) hbpwdJinnL jd'fiI/ig flLjli ive jl/J tF1Lftj1 LL l~zJ7JZ nf l
t L/Ip,(PIhLniLLI wiftif/ir IhpI"J/J/l, up wjq I~hJ/i4?p I~ I1nLJf:
El~ 1895 /iIL fife (6IifwpuAi/i ubtfifitw pwljwl ,rLtupwit~upji
ftn- JW,,01 / Lt 1V J1f4w 1111I111A i q wjjjin iinLiL l(Y t ijP L fflJ
d~tn~j I J/iufinj/i, Iipnn~iwIhini pJ~uALU it/n iflip 7J il/i
tutwSwm/dPll uln lf I 6L it~ /W pwJI~Il uip huynip/ij fhuh ~ d Zl
ii ~ii r r -pxh1 wJh n LL u~iA lip ,jli/ I7Z1 47 /iou-
E24w u I lip~h qiip/in fwi pwltnub hjnwf rhn uijil&--.
LU flitZ o //i, utw f"A bnn~o/ LF hpi'up/.(f4k"I -"fi my w. m-
LuC ~ buf "n, LhipAf47iul~/w//u "A ufiin/i wul 'p fij
cilt_ Ju u4 4n4lpimpii/ Jr iw riifu h pLu j
ILtiLIJ n 6ilwp/wi 189/i ul jwif/iI 190 Jq/iutn ql ipg : /uln--
iii kuunwu/ fipwirWi p/- ILJfli ti4
/i r1 ZIfij J n t~nL/JIfO7P7 01i11~ifpc 4nf~qi/u j i ~ntgJ--
w Cf u Liftj5Y fl'ftJf IL7JAL-PE' 1 IP//iur/i !p hJnoh// j I i. t n/i--
Ill
liti jL~u tLfWbjLApqLJ-"p Lyb hjir'i, wJ~r (.rqWj4 t lwJJbLfLs
nh1Ltu urLwLrLIm~LLLop flL fU1LUrJlJ q~fLL f/UW LL if/ wwppi t
ifluubLULnp IILuUIII WIJI7IIL~l WpdwuLJUlLi: LLrw pII nLrtUwhh
PL7 op/4iu4 hb~ 4uinuiJiiL (bmrwifuwj uL 7 ILbfj bih/ 4wifwfl
W/piq 4r"wuipj~fwmp/iw ifacbwU, 1897-/i5, w 1711u11Th uwtwifpl
4/iflJ hf 1L i/ipIq hp LAf"Ldf 4lnfiuhrpji/wmp/iwj/iz 2pgu.I/ip
(1899 p9.) M/iifu4/iJ-4np uw4nz// i qipqifwifp 51AIgpLpUJ/iJ j
Jwf,7J(bJLJ' (S~pwurwprw4bfnL /JIJJL 1L1L [J1IWfJ Swifwp) fd'Lifwr-
fbwiuf i/i dIt if/i li~npp , uI. huW4 hub/ tLtj uqf wP-
r1/ix jpjqdhb if-dpt .-Lpp f r jnqpLjIwub L-pqJ'p/i ((~rwccJ
7iw&) hzp4nL ufPpw4bb pp: .9"p" mwjw/ ctrpi$j/b/ I4nqhip/i
1nw4 imJpL5 JlunJ pdi. U. PLrwLLw1lJr 1903 wZ~wlrip /ip
&w/i.gni/ Lpwurwpw4nLrif tt (<11I14/iJlJAJ))> 4wLJ uriLwlJnJLLJ
uq ) qL wpr1/i> LL djnnipr~ui4uli hpquhp/ib wncwP/i ujpw~qj
(<U Iw rbp/i ,nq/ ifi , ttwppp wfi, <O 0J bwiw~pfd>L Itt w
4n~~r n ifin5:jrrlurLnLif 4 1904 [JlL/i r, wmrwpu47LJiLfArfi/fri
pulrw4/irfi if' -: Jb1L~uwLujL dnq~nrprf w4wlt] pwiriwifwjb l-p--
b'~p/ mufu~LJbLLff u~unifn"L/jhwbJ ift? 1903-ifr 4pwmw--
Pw4w6- w~q. wrtw~/i uIPui4p /iLp ~Iw/zfurfi~'up LnLlJi: 1900
fJL/ ibc bwu tjfjnLif t 'uwj IhLLipfLif finjbiuLtu /iLp biw/up'Ifjjwyp
flLfrbI7flq wiiiiifi/i LLQ/iJLLrw4wb LAJ ipq, nlrf if2 wi,pu-
Lrrlp, ItLIlr LLfL hiqpwJpldip/it bj 4 uthi f/~i-i d w1'wL tL2
u /i fim/w ir iiwJ4, rpjw~~frw nLjh'uAJ fJIJL fj/i4n~~Lnw
LL unlly/iuq/irjif/ turwi'fiiin puliwu&: 'Aw~9iw4f ipp pwpw/ i/ul
bir ttL(Z/uwuwfAih q~wum/i urtu~nu~uA, qw~b ulrnLfjhL-ulh)
7yrwir/ir uww bipuw 1899-/ib JwUl il ILJJ5UI 1417 qhgui4
hpv'"wup/ik qh1lpuqup/ uupiioi ifuwip fJhI/Jftcw~4JLif J
bipw & lbi~p iii rmhuw t4ii~i Ifl ff/L lipr: gi)jwwoli/ phpLiff"Ld
bpw wjAqludi wpul1iop tij pwqifw~fwjiw&} l4rLigu4fh
f0 lbufi *,wifwp: i4himwq~wiiu liw wLrnLif t wrJqf 4Uinnp~ibuip
/irjLpu LL if/ ZmPP kp4hpf, "pn ' fr A, b '4wifwuuinwu/iiwlinLJ
lpw wjli JUJJlJAwlrwLLUJ pjgwqu p4u~ p ifpnirnbLiflbL pl fL IILq-
q~ a~L//iLr/iul, pWJY bi "P ~t 4LLbl '11ul fL 41Hnpr gpLI4i
112
wj"/ ilL WuJfi Ijqfj, 1~LI1I? ~t 4wILUI~jij, njjrn1/Iimk 1fh nJu j L
uqvnabb dbpi '4FiTfL~p IInLI fijmL-pwA ujwuifnLfbAl] fij:
Gqiw <d nLppf, U17LgpgxLI hFWcl'Lnwj-tl" n fr .Li~p UIrkpnji/
Join 4wj, ((U'Aw~w1Jg)> EtfuiJULIIU liqp-np fJqJligfh Ift~p /iul
«)9p/hutnnu /, tJQ>1 «h I i/iix> U1UjiLwa h IA LuiLFAIUAJ/ --
19 01 [LII fIJ 1)) [ 2 4U JU j wI7 l w u tu 4iiLn~ f t rf: p h h
hwIb-~ Ij1'f7LpLJ4LAJr urliuwfP-1L, n7 lifjnfJ( f-] nL1ithiLJ
((P1o1opor1fi nOg- Ubf>>--/ rw~/it1f1i ,ft? 'uiJ nLutulrqwjwilv
jp/iU Li+wL) q'7Jq- nzndffuii 1hpg: 190.3/A H1I1lepmopcKoe
Atl3bIKUIflbHOe o6u4ecm~o.-h, 4n"iiwhifppnl1wj t uumUAmif
'0InJywli i ft 4wdL-FJii-~P lpyfwlfljy'ip~lf iL: t iL LW] JI-Q
ULUJ wfrzw?1/J] Jb& 4u~fL1g/ bL-whLwj oplJ /iulj 9/'wlh/y/b,/
uwlnprwuI"'p 4nqjlf/g fUnL~jfL LLiLA ul IA h/V[I l ( jLniL4'
4u finjnLJhliu 111114 WFJJLniLJ, ZL mnwlfv~p Piq7[ up whPijbL-PE
wPTjLILJLt [l] 1wUILi7PLw LhLLl/, np wjqi41dL AujhIJLhgg I~--
lJU5(V iL[gwlffhlinj LJ Jlpf1Fiqrfnr1/11rL jlr JLlf f y Ij LLL--
1904-At JfwufJw4y y1LJf hyp PqjJ11JuI qPjl/AjlL yw/WI/i
jlIupLywyjwli 4liufvp/ UfiL w&w ((Pig) qgpwduifwu~i ujyw "--
IJ-IA lipwdjwuiwfi Jfp5FiL-JIIIJA IL 3O-f'y WLi-hfl Jeuiy".
bpJjid~urwrjt4bLph L!tj ZwU11iJ t7 UWfLW?)J"L[J/ILIJ: u~t[ ~IAh--
Lij 10 ojiLLUJ JfQ FiLfi5U& AP y12f wJlpwunL~lflilup iw-nj
ILL 18 4L""np huIjrwfWLJi[JJ71111f tjz1iL jwflJLLniLJ: liJfiJ~ 1Mug1111
II'LUFJILf lLfLnniLUJLLJJLfyiw[w7 Itk,"rA-I7L1 i upituwgA D 1Jp--
L iLi7L, ni1 [Aplfu4'hj npuw/jnqA IL wl" Lliijni 1rAUJUfLt,1J? w'-
y'' oly~huunp 'k2 7JI[7PJUL&Ih wjrtq 1n"6/<pp puiJyj uujkhh--
~/41tij1APA il L dLIJjbwwLJfiL[IILLAJ aFlIJO1 ilL 1/111(1117LLU--
T uJ&FL7Juig/ ujwljwug wgjiijp t iAb"f tIr/A1 JL 1905-Ar U--
'"""'' 11,'eL17g wJIhr~j U IP1nL ALP7 Juiurw ygnrLjA1L7Jg p--[Lgljn11
?Pibll-n /i IlP L fJ11LwUum17hFip ywlfuy r ll 1-71 AP &A ff ,
41*"Juj oqi-Uqp.7ihih, .u9mwiljhwfi4ln (UIrhp 1w-
113
I4wbnILbnjI/) LL Adh& h~Irwujfirp1LrJflil i L fulLrll4flL[JfLbl --
p kfuiI di j4 l5 m~nJ wjqf LZ& w jw7 jg f~JIL1LIf t r~-
tl ulipu l ulz IFLLII15/ IlL11 "L OhLIL Z fi u p h"i/ 1905
Uuwpnbfpbrp/i5 J/4JnfIL 1908 4nI~uifphp, Aprp Lri-wLjI wtLii --JJ
PJII ~I-~ ~4fJLJIZLJV fr~LL U.j7(LLflfhrfp/1p qgiIwi/wp/ 4wAq-ut--
ali.Pny b jiripu !hinmUnpn/f p 4oqwI uq/ipf 4wjp~L- jwbVip
dfwfij wlF(ip/ifwj f, o/fupurwI/II 0114V/i t i Ii'fm/4( n LII Vi inL/jcl Iiur
wflibpr 1ynJ jbmwurVupLlffhp/i wlpIw1 t (p.UrILVIIIL, VipUl y
4IimILibPnL/ fi #hunLiJ a SwutV4WIumufi: lLUI 4'fLL1VJLU Vinlf
IwJ bprwd~zmwI 1fi 4Inuwipp prnpig JwpIYAip~ ift? OrLwJ 4b7fl-
£q! PlLp ILUI11p/1 1/pwJ JIhtu4 mnWbihinq Vvui j c ruA,,v upin"Wiu-
/uuiiwrwLnL[JP/,Lr: t( zUl fpwiAi 17WPp Uw4 mnwlnj rJPL
"11wj~ jlnlZi7 Iagiup/ J U mpn7 J~WwL n 4wplqlL f fLflJh pA
pji/iu fr lfrihilnL 01"LILII i lW4UJfIlL/JIL Vchwi WbIII1LIfJhLVJj, nil/p
41iLWInrj w~w4EIPnfisjp/ 80 % wIZiqUi tfl 4WLLwiLgLJVLIL
kg II! cI~IrnL jJlbwf V, iuI jp, iw liLe Jw/UflLL~Id Ujw~tVw pnl
Ilpwc1zUwrL fcbIIwi wiiw g4WIii lh bgufiuliii LL I n 3IiwliLJVb
lt.ujpn,F71VijnLJf n Jfp"Iqi pfn~tr ir i4wrJuig WwI1j7UwLn jLI1~nLIrp
#-r.wj ILfdfLcJ', UuuliL LIJILIIfg lt&' fji 4f I1w t IlL!!: bpiAI#Lq/II
/uJ' hcp/ nrw4g wjiu,4u - jIIlrc LwgVnL1J, nip 4wpjnqwV~finLJ h2
liiw I1I4WqLIjnLfJIILIIi LnLLII jf'I4I nLUIbpf Ipwj Jw~nql Ijlip
rtqn Lnwhiqr 4uqJ. PlrJ w~iw4wfi oubInublprfir (17 fiir t
ubrwfij 4nlzjrl, wlt zfilrI VJ/ IjLwc l fu4wi pwd(/fjItiipe,
l'ft JAi~t IL 4aLIIJl tmiiq (111/ 1~~t 1LI i i 1f4LI14w Lfih I1n pfl/JbIilI
filijp4WJLIJwnLi1fl~rjp fii, ipqpnjl",u~lwfi IL 4~~wpLIjw4LL4ufi l LIIV
Tubillpfrfi: .,Qwf t IJU lLI! IrLLAlIpn IIIhIi7I1nL5 gwrl IL
jh/JpL1IkJ JLI17nIfJ t: Uhijpjw4btnli U jpuimm~tu hUj/ru R-
ufnu fit fo~uiafwi litbpu/fiuklwfi rjpti 'g~ kg blr fn/u dpi tnJ"uuViwl-
9hIIW, 01p W~j VplU i wLjfLI'n LLI7I (4fr1 tfLLI4/fr QT-I gILJ, WPl-
rfrLVlPVI tp W~jrt ujuijplu p/iZ fA11 VILWfLffILjru~ rtdpluwp wfl
J~Ijpnrui~uVI ulw411 I ,Wi JwgapjyrnqVbh r pp:
.19O&#VI qprnIf t ILLULLiLI I1IiuiVbp/ fr Ift? L bAIf[uf
#E~ inLVIIrg~i ('Z. WUILlJh"Afi) <<UZpjbjiiwi oujptm "I' a
JbmnJ lI1JLUtjILIL1! t rjhlIw~fiLL IUl uhf lluqu rnV ptfjV4'/ fiVI p-
r/irmuuV1I /J~wump lnrLdf ILJ qpuiwrn/r i4w4wi gVI4iflLnc
114
I
t
1LL4Jr ILFJ Wipy )LLIu~g ali4U rpILLLmib4?i1L/ J7Lfni/m AWIu-
g/iwjwinw4w1, 71w wJI- ZI12Li7JnLlfJ-fpt1(nLJf 4 7rnp~ U.
Puw+w71 tiliT/" gLlYIrt".f"A ftuJzbw47Iip Shwn ("I " m4w71h~Iin
gC/j" " /w "! «wufi wmrnrj IA/ufw4 /7i ) 1' ~f 'J'hu f[g IjwLnw-
phpi pw 'nLnpnhp, JLqLL,9/IlII p/ 4wpfIIrpu1Jwf1, /pIuu
!Lh Lqp uu/1wUJIfL1jI 1p11&JL7JnLjIILLJ7J Jftf: tai wjqt oplifp17
qpflLtf 4h fifi <<4n.7f LL wqj"uwnL fjbw70> WdUUJrwurwLniywUJ71 hLi--
Aic « ((U , 71np 4flLflL AIPg nip IIclIIA 1,'(1 I&e 4 1"JnLlf
InuLrflp7Ip17, w71'~nq fPLrjwg~71bpplv, Uqrwungl IPnij dwellf
Ltz"JOi'l f71 « i 4np clw71IN g'wpfrijd-AIinrL'wL /~z1 IL IfwuLpff-
inwjrIjd, 4fl47b1 uflWujlndp Pb /4it" LL rIL4UnlJ7LwqL5p ul1J/ 4
bb1[jw jpnnLd dfl Iwpqg t1w7juJ49JLL4LJ Z"/fl71fuiwf bpij-hp,
Pp phihurln 7Jp".117 fouPhPLp LL wjuUIWw~LnpwwbA 'p7injJ
WInwjn: 1908 4rn4fmkifphipl7 U/lLilpil Pw/JnLi1 jwqfl djiiinij.
4pf 'a42 iripflLW& LLI757JiILLI 4 8wuhL4iihiii7 spwualpqn71/i, Uwd--
un71/ir, 4fLpwn71/i J4'Q qjnLUi /uiw4w1 IL /uuilju~wi opeglrun-
Pwj b7 (fuwIiM) /Jt '1wJ4wI4uw71 LL [1f"4 WJ-/nLPj.-JnLb14W71
J/A Ziwfip win71 LLUP41IIIA /uw71ltwi/WIznLi7LfL7 uiILLL2 f Zijin7 Jw-
giiq 4n7jfipm7f1lipff5 IL on 'p wLJp/f' Uw'unf+--Ulipwum/ iw Sw--
bJwluipiS p 2 IfnqdLp p71wb Ifw wbb7heAf dinI"I/pipu4w1 bpqiirp/p
n'- u~uFLpifr '41L~Lfyfli ILnLUnlLflLif fl''L/ffLYJ/ifJ' jhlunnJ
4wqgfwrfhpifllmf 4 Uw"Iiun71 plot/if uiw4Iiuuif if4 Lifilp-
LLui& 7 flLnpw4uAb Aziiuwf1nLtibw1 U~LiIw~LLnj7I~ dftLz,7buLnpj
#w Jfinum71hII~ Shbm 4'flumfife 2000 ifnLuirtImbp 'pSLi71rwb
t"71' /t/iJTilfl1p4i ILrjr f1[qU5[L JLbb7 IL FUIII7LpnL[JfL1 by rA
' L l: fw fr~wmnfl pwpli4if w~LLJ~7JW fgI1LJL (91iiqunj u~I~-
U'uiJuI/lbi1iiuflL LPiJ pLI/f7Jr) n j d/iwf j71 fri7tr~ (jfLl 4 U/IL71/i
I"Pjlb uiwrpwuu wl c rpwlpg, wJLjL wdlj1winp rj471~ghIi.
P" I (''42I L/f71b"ni IL sfuzniw7nLfJhw1 uiwwniirw~fn~L') wdfuw-.
unncl if 4- «tn wfiqfwLnL)) Wirt ifptr'Lb P /q"'L/iUi5f/iuij/ Ii71jwup .
OL.'ApuArfr5 jlwnj 4, nop 71w I-FnLif t ALP << Lt4p rw~unq
b"I1Lfl fU"JAqflL471IhP> Izprj~p ... «xb,4e qwrpIig 4rIW71p! uwLjflfr
f~i~~'/fP154 71np ,"mLi LrL4p. 11111t uJi LL 4IA71qb 4wu.
YAifiii"/Ljfflpl, 4k4Uny/i fwLP/iqd-x l rt4L JIJ AlunpII54:
SpwuI Lflyjn7iI1p IbmPn71un wjp g71rrpnlLb/njij%/'u 71wi7wrlwLfl
h'f-iJP" t n"71b"1LJ IILUi7LifhWU/ipbL U/1p"4714 fi, 4Lipwul4.-

115
Pt IL &UJL Pn"IP I-bliWIpIL 417 fibpp Zwjbl iw4'ip (41? w 4 w 1
Jlnpijru A~ribrp/) 4ihwnrglz IlL 4h blrrjwfrj flc a ww& 44u 4', wjI w
4uwfi, 44 tm j fpwl ulf /uouDLbprrn/ J" j"iprwLufh hpi[-ip phi-
4 npliliPg: 1916Li 0mbv ~yliblnrli/pm j1qp, liaw wftbimhqg, Zwptl-
rILLlf 4 Wjff rfPipg MLLjf/1 rwjl Jlwu~urwPnq, mrwprwc~jnq
/iip nPnL(f<L~JfLfidr wl1Pnqj i4wzf~4?i/, ?'Itfpintptuif
knp jnrLrfli LL ZPP4Wj p Jftt: U~Jr[ nLUnLU flwuj/PnLjlllrhLrhpi
WpIU9pLflV4I7hPL 2 sIb& mhmpwlihp/i Jft? U11hPlpL,4WLL4 Ibw u
/4rj P m/uniw~ wj1LJUyLJL: l'PqynLlf/i J4t? 1LflJ/4 ip qu- 1
1lrrftLnLlu 4 p111 wLrL4JL UUAJL*JruuUpIUJ u ,lrnd 1[oi . uI. I~w-
Puuiim ili/ LflhIUtILfII7~LLI o/lnq: 24/ufrLJf 4flr J ai u/ii /n~/hj
jIir qjwuhPLp rlrJnLJf wPUAPd JfwI uipjTu,4 pu ILw IFL~urlJAJI1LL
wnwui~bPmynL Jr fsw uwZW/bfli wfiCIgI# ?JilJfJ 4Iq1Lf 11/L LIf 4 It L
1"qi1wJ/I~i iflylLJ: %ALPugrw ujdrUinLnrP hp irflwui~qlflL-
/JA&UAlf 4iiiihii , ,/iifJ'fLrJ 4 £ 1/ Ph LiiLJCwilL/jIIUJJ IL hp't/i q~w-
4uji ap 4Prurnpilp/ fiw/uufietg ZwPcfn7 40 4nqi/irjy pwqIjwywh L
m[fLUJ/i] md uurwLlupWIj~lu4i LJJwJL lA PLLrJ7r~L1LgjFqiup P
Ilt Ltb&dlp Lub (85 4nlTnL5) hp'w/nLL/PL, nPn74D /p1Th-5 h
ifpi ZLwf14 rLrgwupLburW4LLwi 7~J II/li hlpflij/01 ff4 w 43i LlJ IL [J 4ri
rf iLqgzPnLJf unn fuiiuiij jLi rn/~w4luiwl4jw IfLrp IA, fuLLrlLJ 4wJ jh
IL ornwP uLWA Zp~wfwu4ldhPnLJ: Ujrl ophlrpift 41 LiiLI7,r 4r fl r-
LLlA fqiiii JWpW phjl~JL~J7JIrpg 'ipujwI,,l~fhp 'fIhr, ILqp~
Uilrfihipu 4PjtLuW4 rwwcb& /ibturLwgiiwbl-PLg ulLwgpt p ) i1
,Pu ,Viqifi i ~LjJWpl/JiL7JwfgoPhir'iEfwlwrLpd" ulh r4~~4" jG JpfLLrwi/P5 /U~h17u L Li inn Lbwi ul
/ .wm~ jwPrmIInL: U L/jrwmrwLnP I ~/~jLi,/iylfJiLL 4wf Ipu twq-
iflu& - iPw 400fIoUjhg/iU4JIhPg ZwiL~plrwLJIlif 4/4jri pwgjfuliuil
wdpiurwiw1 IL nLiLL uSw1 (I/iLf liil 1r~rwmfi wJq- wZ /uwmuwii4
it PwiLwPwLpLLJ: ?w mJ4f b rnup/i 4tWfL~fuw~~lip jwl
I4JJ57irLrf 4iwJ Jfnlj/pI1LULLfII "nit/i I L IlfluCIZWi"LjfJILA 4u,-
LW4 Lf'ilr rtaP&/ilI IL SwrJpnPrIipir( jggnL if/i, P/If 1/iu (Piiq41 1
IL 1~4wJ b~w uAiqilipiJg ruuj7,l/hp 4r d 1 411 injbpt p pplLd P
116
nlL I"Il 7/t J jjwj Il-L IfflJw L iLIU/pJLJ llJqnjpf W'jii wjr p-
nuluJWJLfjfIL-fAJ'lpp (7 Jifh Lurj whwrpwI1frhp, Jhn 500
bpiihpi/, Ji9jp nLfrfJrl j141 <Lptf7i nt-L q/41>> (/4tj pLJU7j--
pwb>>fb ultu ujnjtffliL-p): .Sw&4 wuiwdifi Jt? 'rJL- W& e W ilt 6
Lnwp/irirhp/ L'f'j/JW'pul-j fw << phrjfwqwbp>> Ip JfwI1Jwfi t
bbiju'wpnL-d uw jni/ 11uii dnqni/prj~w4Ul outtpwjp GILL, /4iq--
UflU uIL rllwLJ «.QwpJobip>> 5 uww lhpn j bpwc1~mui u4 /p
Jfnqwj/i4E, np ffLhp wbgwb5ILJ lpwIJ1Uulf4J i7LjLullLpLjJ ufi uf.
~gLIII 111- U111111111J11J/ ii4/iqpi, lylqjlrL-f14g 11111 114111111 AP
fl luj #w pz-~n 4LnhwLgnp"jLud wfpfi~l -hu41 fnb J/u/u4 p ujbu~p
ULI,P1 Wilt u11/L If U 1114? I 111 fuQUWrfL[j4LblIIfL-/I tWprltvhh1I--
Pe~ UPWpdu iLri 14 w~4r pw/' uw/ i, ag/Ai Lw11AJLrgIIL Wif--
Paq? p~ jlpULrfp ; m wwT jph g ppiul41Irwj 11n/L fif jwb1dLg-
/b 4hfilnLJ Up~fflLJ4J/e P 111IL111~p 4ILAf/LIlgflLIf7J IL a111JO--
fnJfLf1d t IlLfJIhtuL Imnp 4prwtugw4J I~w&-A- if 'vnp uhli--)
lph~fr blmw11r-uip' 0O/ULUAAfw S~p '9Apjl/It"PkUAJ/1, LL JlLnLw--
Lul'L ' 8 rji nfIrr11I1L1fJj, [AIV4IJbnU IL U"I/IP/ltf'I Urh '1i1/i4?iw7A1--
Mhi Pwp/runL11wprhwr fir IL 4n7L~frwpuh/1 fim Iw wliiff/igwUj j
bpf[ ll llf /IMI~4W p lLaniLfJhw ~IJfi rlpLi4flL U iifuLn.
Pnbn'Lj LupLI1Lrf t7 1f1L1jwulWrmflnJ5/1 Jrl&a u/iPI5nfi/fi4 I~4ibp-
U (90 4r~rt/)' Olptu1Wjl/ (100-/iy Z1IJIr w1LI7/f'), LFPIJP t p~/~/
U'ltbribupmuA1/l, Sp-l- ZLf111hwLJrJi IlL Puip fznLrltwphlif op.-
Pf1l1Ilpwrj/AJ /4Jj4JflLplrLf ltlp~bP/i, JfIJrtI ,U LL b4ffuqiuwfi,
U&4LfJ/I; firL U. U'I11/gL-i71 ,owILwLjiaUJ1UJ L-pl 1p/4'f bt-PL/Lw&.
' ip irrlLirf L-n1'ZW4 /41 /4yfInL JLhtIP&7P11 fiilt4U 41-
PIf fii L Jfh~r IfpinUIp LfIjtpfl5r i U. SPI-tpiiAJhlil, WIpp.
" UjltrufJbppl Up ln&1LI, t nLirj pf L4fL 11111(1/, Wl wit--
n 'f7?FpJ/J~pf4J /4hIJ ulw~uofriww qlirj4wi/wp IlLfJIA1fiLn
117
Of1LUIJ ufLL4u11J? IILLI11fLLI Oj7pt4~UlJ/4J 4wJ4L wfr 4mtnphh-
g/ £/jmfu~ttmnLj~g7 nt alj~buifi tJqnLiJ' 4 frpufi wjrL nLrqI1nLjIILJJ~p
"Wiz qrUItplp&IhfL, UJLf IL."W ULTl fLLJ ~t, upFJ fiw7~I~/~ m tZfh''bt
4t uJ4 pt wZ iuurumhqni2 uJ,1 P? pnLlf buri wrpuA!lfwJ45J tt
$.u1LI1w~L//1 IfLAJLLI? fnrn/jiif1wljmf uAf 4uwJ qpLwcwun/4w-
4iaili U&45/VLLJ/d, qpLnLdf t fJLppUu4uW ubrgfiWjfi 4UJWp7 <<Lu-
1± I 'RIpLLILYXd JfiL'tL4fjp r'wJLI, np lfh&- J1rLJn!1FL I7LLIrfp Ap
qkl wpnL1JwJp mlfr/gru PIIJ'LL7ILIILtJ f rnJfi inhqgL, Iwq-
'Ap fuqnpbut r i b. Stp--LILnbuhwi f, Pwp/uinLrwjpbJIl k7
4n1L~fuwphwfrj7 '4Izm dJ/u f/if (Uuylfj Ut,4wufi 4wnfwp J/VLJJJfi
JIVLLIopg wLui4/LUI& tp, hldt~ hppIL-5 k1 f /vtq ruui I
flL1IYtp wi udu, 4uhi r1ffnL[JbwAI) u LfL 4wJ bpwjJzcnL f07wb
qtnprIiLUnLLfhwu/lpI7L/ jIJUA, Abill/tU IL U1~wiAcfrLJ bpqpbi-
uLwubPL: %AQJLIIrlL rfbl 4I~ (LJLhlJ7mL fa bWf Opf j Jfhpjb-
Ln rIJALftI 1us11upufi "iU~j/inr i <... WlqJbJiLL f p1iw 111 Up
kf f z r h ~ i wf w uf u . rp. .uf rf n~ i wj u ~ u r~A urf < ...> : ti ju m b qz t j rl u h i 11w L 4 b p m Jr waf w 1 w b
ILU1Lygfl Jn iLU pIhpbfLfJ %4tI1Aj""711rht' IL "'II b-rdin
b~rJ jlbbp nflL71IAuJl5m LL l uipuL wL w uuffuuwLuwi 12
u~uuu~~u~uui rtbpf1 i7jIIL I/LLpLI(7 f 7L~iwc~tLflLI j/,nqnL-
[ paArbtipgf7 j °pfgtii wulpnq 8-I /Jipg nLUnLrlfliwu I~pnL
JThuA bf wp hfnL5 Jjhu,,,j 1920-pj 1Iw9JL7 fJnl77flL7I f t t4
gwLur IL lJ'rurtuutbmp, Z7nirtlwumrw7J/, brq/pulmnu /, qln~1101 lL
PuwiPnLJ/i i &Wuihjbuiij I-bUilu AA 7iLffq, (7JF wjLnpfl1fL[JAf1IJ P1L
71uuin4/ UWqL~7fi r Wfub11wl ujf wrp-LhG'pfr1 jcqfi n14t 4kpqfl'
m7,571b1 IlL IL. JfgqL7,fi-PUIrpL iW j6 L. 17I1 W117Lb 1 4/hprwqrunbiwi
fL: LJu t1IIIp11~fL fJL-' hpwp IL fr~' Zwun hruJfIl
7JUurlrLi! 7ipuu z/pumb 1921 [JL- o vrnumnu /fi4 jrLwu1I)t, Ppil-~"
Iln'puLuJ7j' 1wJwucrwfrf f7lILw1JJwnrr ihL7 hp r , urnwpt
118
I
/6'g ',~hfi ThpIrLIJ5nLg/f I4LI1lJ knLLJ4JIJLfdJ/1 41u Ihw irfwb-
IIIwfr hLAd4 wI1"ni /lf APOP phump jwJ/4if finuifi wdpnqg l-
ijqw'uu j ai bL6" pulflLif hlnp 4pimwJ/i' 4uwJplTll gvrlJ 14 ull
(<4uwJWpfnuLAJ>> l "lJLLAIIfl'p/I1LUJf1/Ir L/ ijfll -"Lf L )w/, ''
"uwjq 'f~fwflinLfJ~LruIf, "Pi iffi IlpgnL LIIujpnLg WILI1q2nLfPIiL.
ZUJwumnwlrp Zfi jdnupmpwui wj ivurWm Ilptiibji4i 9)flfuflL
UIPfi/g Uri uArwc(bnLif t PL-pphpbuw, buwjliuwfu, lriirnnrui--
hgjwdmn"L[buAJb IL /UfpLLIF4wLJY j-fij inij 11Lphu' Inn?, b qulr,p
kffluL U4/lLmUip/1 fuwnifr bpLFu~p/ 4 wq jfLJALb P,
if/vwdwdturfiw4 iijJ IL hIzwiL7JiI muiwnq ?in gw4wqdr 'x4wJwP-
u7f ngfi S/piffiwqj pp wfitwrJbbrlpig lftI E I. b'pwJofnwI Wb
uh4yg~hfiw fwuwnjw~jg blferp r U/1LIfipb 9/flfflf wiflbiw-
pg ignLlf: Uj/lLuuup hi L jW/ui fg/i 4nfh inru rb'p I 1jLLutr-rWui
fj nrI jfir wf?rn b-njJiligk, jlnrnj, fnpn7)p wg s jrtlwlf-
j1 wu 'LL uLLp4IlLJII7lJ? fL~uwqjrnL 1/lLAfiiLi P II LrULLIIILclLiY,
4nu Irwqw4bgjufnLJf t 350 '4njjping tj/iwg uw4fLp byZJWILJ
hp Al u/unLzJpgj, qligy wiff/nh ii fLU fyfn~ /WJImlLL ILIinp wu rtI
Ufwrn gLuJLLyLnLlf t- 4"fy~kpmpL Jw~wjw wplij, JqjiwJ t 4LUAJ1lLUJ
)9lWju4ifi /unL6LLI jfg, UJIft1i /4IJ wIn IU~fil J uh11lllif IL
UufiujULJf, npr ?iw t j z wqjpwJwrprf (9 4njf/Ainrgj) g~f~iwfi/-
PA171 0/n fitrj WI/L fi/ ~f LU fiuwrhpihbLLI? LzflwLLwjLf Zi~win~r~rig:
1923-P uhLujwnfJpLi g/if 10j4it t41L bnp/i ywdwpg, Iluir rirLqni/
JALLur lLUj- rbdi u tInp&1i t- q~kfLIf 4wIjdw4bFPujb~ni/ wpFL Lpg/
fin j 4wJw~Lum purtquuYb(1 nLJ L;FWcI~uiwrlurf i/JL ?lquwW
gnlLiffh~sp IL /udpfjw4wfi 4n,7bi phj: Pnurn?,fr Lhr& 4nffbg.-L
flLb'dJrWWjL rgL n jwgLIff fp IL74ILJIIUrLJJL ?iw/u4rir 2pClLV ALP/g:
Irbuw ni/ Pnuwnlr' 1923-P w~fiwfig fI/AJlf t4- I u(rj wLl'-lu))
db"lLf JLr f~Wwrulpwl~wlr /L hbpwdfXWw4wfi plWd/AAi~f/r,
4LLJ7IfW4IJf lLJ LUIJflL? I;ipw/flnLrJfp, rip fj4-' ifj4 Zwpp 417f.-
4-yrnth ~ bl7IlLJ Pnurnnfi/ fr, (pnipItba~ufl, llumgfh ILL
'41171t/4-f 2 L< IJL r4-wufrwr45nLJf wqqii-p/ <Iipijh iflujw-Z .
J/ if Lfjl5lJnu) '~f> wj Jnrn/prrwLwli bpT f/Ai' Zuw~Ii/ wnam-
119
gp iJpyufrwljg: 3lwrnj 1q-hLwpLhLJLul/ ZI1p uwLJL/U t Jh zui"'
4 ;pwuqwpu wj f41 q wwiJLWlOUILtflLLib: (~JUJ wJ J7
1,1wmL '' f p l U fdi/il pn~ng h~t.nff'fj/i ,J't q wuw-
4WPq-wjf4 4wprdfip Alta , untJIwfiit/ 'It" gnfn1Ld t: m
';imknrqm~w i t, rtLnj1MJ fl L ~LrlflL/J~bflJ lflrwufimljwfi, fli-j-
ljtmr~iw4 4Af wtlpnq~rnLJf1lLfJ I1: Ll4UhIIL Ihjj1/II1WUW jrqinL fJ/1L--
fr~ 4;L.L 6 jII t fILp qjiii11iuifi Lj' nLp',~ ~' Iimbu w' np--
LIILILIL flL /unnp';pqij/~lr4i pmjbpp ';im... ujwcmpjwuin f inp
wLL-"IU7i wizw?,ufw(.~frl7-M- q riL ...g Pwjjq U~bLli li r-pet/i-
plw fummwL 17 ';mwffuw pflyl: flppFw' bp L-17 j~ uj/~m/ lb-
li~ 4/4 'Lujiung j jIypgq ZwJ'uqnrj~ "jlL ui J pn Lnf~qi jp-
p/it pcu'J [Jf197LnL f /ln fni pm4I1, IL uijJ J~ & cf /inuW wb ii wb u1n L--
gulJ}, WlLWp/4JILJ~ t bhjwr[L-/jwPL~j Lh ip l1hfp/ wJquW--
uuiwpw jrmwqwmlLf1 p jipn q~npmu~np L. qpj- jtcqhni p/ /ziwcf--
p/4Jr mlij (1,925-p wifizufh I/L-pg): cj bAlrjL-,hpAwJnLJf r~
4wLJLII j1LL4n7L 'JIILIA JAirnqiiL- jV wlu4J LY~7 n LLJLI /jUrp t 4 "IJ RLuW--
7JnJRflJILLJr tfbnL/Jh lwfj 4wwfmjl bniuuwc UA~ipbA 4 ;pmujwpw--
4WJJ4 rI~jLLlW#iouhLJ/L7Abljhpg ~~LlT flpL flA 7nLj?, /4lju IL
"FpwJv Jmwnpjq 1924 JJ L/ l"1ujphiA 3-A Wbpnuj7UjR icn~wf
Oujilir (ILo411nLgfA 'k2? l00-A prLy I w LIII& jhA ptjj>w/urr1pnq "7LIJ
2iJl5h~jL5A~r ';n~jwwj 4w;mLbpi1/i mltlj1LnpnL[flLfrJp: Lfd -:
lrw IJLinL 7IRnp rf/i , fh wujwp/if1Lh1 ji w';w wpiqk i ~np&/1f
qpw'"j t- U4uh1 - 192h- hnu~hi-w j t ?ll «zwjwi i-
LI7UmX d/inL/jJ/idig ALP7 L-~oucjwi- "jLp wl& uju--
p""Jihi Pmd/~ii"In wpjrTO 4mwpw~ /ipnqnLlLi wJu--
mrLiq iLII, bL-j m/unblL~l'fA tj upumpmjnumr t. wjuliqr t rjrj-
Ujp7fnL/JIomwiIft b~ hpi/i fL "IwwrnLJAb wrw~fLLJnL/fj fLfiJ t LU
4111~ IL 17i nL P~k lfip t.0 l, fiumfi ni qwpqiiq r ';udirj Uj L~pife
lP'P mA'i ';WUWPL l 'liLLJwjJ'L jrif~hu nL/iLAJiij i, 11pn17 f
';ful4Ap IA, t /unp';p jrf"jAfi 41mJwumuwhA ujpn"hmmpw jw4",
';mrpI i eA" . L' np jlJir'f iwt Ilnfl7uui : 1927 [jLi mtf
"jIpg" muLfA Ihi qipnpiruigLq: Wwfiljwljm7 oujilpjrw iP /unLlpE
mijtf 3 w ipwpn/ oujLipj r mU IL lpnqnLJ/i (AwgIJfnLf F P
120
IlL qwp~UAUp/p Ww pIUA qfWpdli: lipuwiu/iu J n wLhq/1 W.
utwI t Z~ PwJ L-Peb fiii'-w~pWJ /unLdpj: Jf/WZ riq~" IiInLnpI
uutnIiip pfl IuLLLAJJ24Jigy, f[WLttLuJllLLt[hj1J fL Uwi U~fPI p-
UJ~pp, rnJnjf nhblpt Ir/pw'b IA, /P[hIi iwwI4i -- JfuAflif-
f, Itp7, bpp/iuwwprfiihpt, m!IwbppIhplb flL 'wUwpwIfLn fJ/lL--
U ~i U [j U4 l Lpnp IWUI rL- I4 Z W IIJ WJL h U l fIU IL lip w qbIhlw /wpfih
4 bm. J7WIIl nfIII Lf T nljitnLflLfLt IL flJLL/Wft WtL IL-
PJfLbJ LnP- L lfL : Lb/in u if/wj f, ng Lwptu[Iq l77L 4vf w Z--
biWftjUQ~nWw4ufiijtu/ifi c w/u nmpptt L£PII nhipLi jnnL~pI L It
wjdJi 6 tmdLii t UAJ4Irq7J/ t A-ILILwJIJLJ <...>: W 111 fiqflULl
/ uLmujiii tLnbl ~qIwt, wJtl JwlfwLI ZlfLLJ1J P2iAJLLf ftW Jli&
Stuw~J4IIL/J iLfp /lfJpflLpJf1 ipb ~t J r mhlP iI, pu" A
/nLIJLI LLUWJ,p wLrjA L LL wwfiPi.r qp[uILipb1 L IL- Lwnn opu--
fi""j L-LnL pWL~fJtdWJfJ'-L F-"JiqdW[/L L tIirPgI~w/ji l 1pit/ip
djWuftJL"~PLL/~tu WJlJi~ujt, nptnfJi JWuL4WAtZnLJf L-1
IuUWlUIWLL[f 1L/IpLn5/ynLfhb~ Lf~pAl //wutmpwm ZuJwwpl~p
6fLL~fflJLLpfr IlL UJlULLJ4"ILJ/lLU~hJ/I IL-[L/h U17(7/I/lnlL 4nqiZ L/
Wpfip UwlLWuAt FIPwPfP/i. /4'"'LU wj~ wp 4w i 1 uWmp
Sb w J(L f~ WpL W MI1 Lw~f h , J J11Jw L -/A: 9wJ npiA-j
14ifuj u 1uii1/i qji, LLJuILl/[U IL P~nLLLJLJL ZtuL/ItTLftwLLLJ .
b~pw 'wugpLw&3 LuwOpm'ip" 4" lljiN irfiwAil, ftipwfp wjJJf
dbfi iffy -tiuwp Lbp /it: 1928 LL 29--p Z~pwfib t; ULikl/A n-
-P/i17 tui Ut- JPu /u wj rLLl/wdp Zw1p"lL-JLLJ/~LLJ' t qip--
IU'wIJh1 fU uIpb/AiL IL if/iuidwduiw4 u4u/iL 4wnL~nLguAj 7in~ji_:
U1 '"Pij4O 4wuiqdui4ipu"jiL t- rn~u~wf Jnjrjw4uAJ LnuA,
~Q50-iig rpfLJ"PLLI4L1AI bp~L-JwfunlLdp (ILILLI), bpwfin ojpn/Ai
wfbj/i l lip LnlL/If, JLL ft4 14/7 LIA'/A'/ if Lf/pjlAf L fL14 IlL
#uJnLJ~liq 4tfWuWZIUIWLLnptW4Wlf -puLLLnprW4wJ mno W4 w--
' V 4n4/4 1u[L~ pw p fu4 lipm hpqtvw/uP'Fn IlLpu
1''l~ LnlLIf if/i Zjp p ILmUIF/o 4Lftyg/ipinli/p% 4uqJ /ipit/ih 4wi-
'N 'La- 4ImL-WPpp(LnL[J1LJ Juinuig p/irp"Lnl 4J IL ornuip
121
193-P~ wifwal, , fi w gLpLw& ¢ Pnumnlip4 pf bw--
f[ p nL/ f wiJLL4 hp I7E-w1g 4p/Lpw1Jk 7w f flnofJw4wmwpnL-fJiuJ 'w-
1Jl11]r r1114 17pl-/. fuJJILfp 4wrlUj1'wU4hIpU 17 jnL LL q4Iiwlwp~qn
/UflUJAJ IlL Uhp i on bI4 Op uiqPL, dhwfi w 4pr 4w pi & , Ipuj
af/wjb 12 oar quwuJrnLuu'nn~ifJIIUA: bpjjjupg/ f Ir pL ip
4ipuwplp/p LipI~ip fj"I"JLnfhil fPjwL-nL PL!jj J/iwti h
fiwjfi /fiUJAJ z/pwUfw'~-IqLL iuWiimi-t7, qiiEpu zupInhiryq
finf np wuj ilw4wfi (4?nq.Lnp IlL U'z f/UW5r4Ij) 4wdup JI~gp
fiuj wjfj IWPup Cdwfuw4LUd1pgjn~nLJf J .100-h f1UJU ZUIJl-bl/
dh l rwnIur4wiu a MJfl-fryl wunwpnqjwlwinL/ bLpq-
iwfLLUILUf t Jt~mhq fII7lnL!!fL It /J pwqjwfipnq fwbw4, pw pq
IlL 4LwlLULw /fh, 4? ilihelirp A&1 ulnp w ur t bbp1wjuy-
fnLJ Pnurnfifi wrlpEnq j 'UIJuwpUJII/ILJIIUJA ufii/hgwzujuw'
fuwfijwrLU1wlUJLL/JhwUJi, Jwlw4guig,, 4/l1ujcyJflLbJp7I f Puwjlq
&w~iUJw ~lL jJflL~Thp fl wrnwp1uA q~wniwlnq j'i~z~P
Phly qLuipI UlpLUJ& 100-wz-p hn~mhz Jiihpp nnpAp w4 wn.-
bhL~,4J fl~ndtJf 4"1L' wfupphL WJfr IL uhlul p nLhPf 4wllpbLkptr
nil ILwrf4wUJ pJbPg fjlFrhIi t/rjj fjLW fwI~jihpg UfppwljjZhL
fiqunbyr pm c wgfibg frhrrrTn4wUIm-d~ wwl jni/, IL r L1QYuw4ljql-LL
uljlpmn7LfC7bLL4 JWILcL' uLifimvrfi mWu~ib; uijqZ OfhlrhrlL < /iJp1W-
rf>> Ow LkUL& c<1Jyhfpp wrn;4'(fi~mipl Jd: t'Lmgu-Iwp
w~u14IfpmW Ifpg ZwlU(1LLftLJ Mi, 17gAwfJUIj p Iplp&c hL Iip~
/_pwg- jw Jn1ptpI/A mWp/jlbp/i " Gp't/h Jfff.wqLj-wJL fl flfLJuW
Jftg uj Jfnqjn/yiw4ufi hiqu1/ (UflLl/i) finp Iip4nL Lf(JL
7rUr47irp WiJI~rfIJnLlf:
1931 tu~jimbL t /iL bopgp (<4ruiJ wgqlwJ/T h Ipwd~unuWI L
JlfL/j~fl II 4,pwJwp(U l /lL PLp rl-ru4fium4 /udlpwIuL-In 4. II'I&-
Iipwifqr' lUPL7frflifJ t 411UL/pf7LUI qjb4wi" pf u~IZrnobhl
4wzuiJIw j4nqffr wr~p rjpw rjuwlr -jI14p Pfr
qT/4g Eb7jIII1L~J nprul-U ulmJuif: U1PfiLpJ/ wJ-bwiuipp Jfwfwr
fJLU4wUJ/irI15IiLUJ' 3O-fny b-prjw fln,-fLr 4LLIUJlLJf t 119 4n-
IpIUL IL nf IIIJLJ' J/'l Ziupr bpw"d "UiwfIw IijnjJ7,Iip r" bLPrwWw
gnL"I-7(lh, 4iiliglpuiblp, r~wrt fro (wdrrfhpih' iJiiq24w4wb, wz_
/ruwLlw4wfIJ, pLLAJ-npLU4LI7J Jwjmi hlrhnq: 1932 Jdh
rtgr U'frulrn~LnpJ flLrurw WmlL111f11iwp/1LUIjrL if jr hlp u/uinh
unLrUmrfihiPrnc f lL u fl fni/ fo vj t umurn/ rJfint fJhwr 40,q-
122
I
swOlhpjWp/ IfofW~npWh t~IM b"L « wJflbb/op f ' wL10 i
CC'U.wjbju 4[Tbgg wiuLnj t IA 1bILqu[pLIL tUJL Jwpq/Ai> J~4 we
/UWWLU(JpnLIlOMlA mwpu4 uupuJ Jjwjujw4Th: an, ujzbuiw-
bp/, lJ/LII/4J Zw,gWLJjUJ/i~LULnp/1 k ugin/fi 4/Lw"f'fIIEuAJw
uAI4nq1' i/v t- &LFw~fnl-lf tlLLI5LJju(LLJ4 4WIJuw11b u1wJA n j:
jIpW 4LLJ~g(YLI LLQW4hI7(fnJII~lg Pfl'Url'lAnLJ, JfL &f[,nLLJ IL.
W(h~wl/1 obJnLLI ZWFLILJL4LJ l3fy wJJ f' hpbyj qwUIFI h
Lu/ u4utu&A IfIl- t1 Pb~, OfWfL17jflL bgwl t[PWIL17g [JIlfL~lI1(fL-
[ fidLAibrg, /j~nji~flLP I&~P/ flL n octI' wInL rfLJI'fAJ&Ph, fiuI4
'LwU1bAMg, 60-A ZtJp/Auif 4UAvrJiim& } 4LUAJ1LJJjWiT finjq 10/-1f6
b Ift2 ZLL'nLfJw4"LJ t LAJI/jp2 uIJhiAlj-np&It1 flL qwJPl1
(<PuAJLnp/0)> hjlLLJ~mW"4LA L4t4mnfp/lb W~lU tL (9 WFAJ LLJr"4LAhlL-
[JbLMJL-juepq/)b w1r~i j t ruc~Jbq U/lLb/i/b /pI1nlhuwp~sr
P171171 bgtl7AI'fip/i J/1,wqtp IL ((IUnp74prfjj if ZwJW"uwr~
qglJ1 /1wfLLAJL7ULJ'I hpfbpqJ7
123
<AUTOBIOGRAPHY>
Grigor Mirzaian Suni is one of the veteran Armenian musi-
cologists. He is the great grandson of the Syounik region's
famous ashough [troubadour/minstrel singer] Teymour (Melik
Hovhannes Mirza), who was invited by Shah Fatali (Fath Ali,
Shah of Persia, father of Abbas Mirza] to become the head of
the musicians in his palace. He was the composer of a lot of
Persian songs (tasnif), such as Mirza Seyin Sigahi.
Grigor Suni is the grandson of Mrs. Mashinka (Russian)
and ashough Dadasi Sunetsi (Atabek), who himself was the
teacher of ashough singers Hatami and Balayi. He is the son of
Hakhounts Anna and Hovhannes Varandetsi, who was famous
as an illustrator, singer, and folk poet.
Grigor Suni was born September 10, 1876 in the village of
Getabek in the Gandzak region. At the age of two, Suni moved
to Shoushi, the capital city of Karabagh.
Suni's father was his first music teacher. In Suni's teenage
years, he was called Ghali Boulboul (nightingale of fortress
Shoushi). With his enchanting voice and his beautiful singing
style, he became the source of admiration for contemporary
master musicians and the general public.
In 1883 Suni enrolled in a parish school. At the same time,
after school, he learned the art of jewelry making. That same
year his father died in an accident, and orphaned Grigor was
compelled to take care of his family by, besides his schooling
and the honing of his craftsmanship, also singing with other
musicians.
In school for the first time he got acquainted with written
music. His music teacher was Rev. Fr. Garegin Ter
124
Hovhannisyan, who himself was the pupil of Nikoghayos
Tashchyan, a schoolteacher. Ter Hovhannisyan paid special
attention to Suni, and after years of hard work and dedication,
in late 1889 Suni became a contemporary Armenian master
musician, in the broad meaning of this word.
At this time Suni became a member of a secret group which
had Poghos Zakaryan and Martiros Saroukhanyan as members.
In 1890, the day when the Daraboulagh [a place in Karabagh]
guilds were having a celebration, Suni presented his skillful
works of jewelry and with the traditional slap of the headmas-
ter Badam, he was declared a master jeweler.
That same year, Suni and jeweler Moukhan, who came
from Bakou, organized a "Kargah-Shakert" student-workers
union which had some success during its short one-year exis-
tence. In 1891 Suni went to Ejmiatsin and became a third grade
scholarship student at the Gevorgyan Seminary. The music
teacher at the seminary was Very Rev. Fr. Sahak Amatouni (a
student of Tashchyan), who didn't really teach anything new to
Grigor, but the atmosphere in Ejmiatsin inspired him toward
village folk songs that he was not familiar with yet. From the
very first day at the seminary Grigor befriended famous musi-
cians Karapet Amatouni and Soghomon Soghomonyan (later
known as Komitas Vardapet).
Grigor wa; excited about folk and instrumental music, such
as Soghomon's religious (sharakans [hymns] and taghs
[chants] sung by village peasants) and folk songs. Amatouni
was lazy but he had varied interests. He liked minstrel songs
and after taking a close look at the songs he would give his
valuable opinion. Grigor appreciated his older friend's opin-
ions, because in most cases they were in agreement, but
Soghomon, who was a contributor to the "Meghoo (Bee)" and
"Nor Dar" (New Century) newspapers [in Tiflis/Tbilisi], did
not care much for them, especially when they pointed out dis-
tortions he made on folk songs and demanded that the collec-
tor of ethnographic songs give the authentic picture of folk
expressions in songs.
125
The music teacher for notation, the Very Rev. Fr. Sahak
Amatouni was replaced by Kristapor Kara-Mourza, who had
limited training in European music (and that influence would
increase in the future). Grigor immediately began taking pri-
vate lessons from him on European music (basic theory and
harmony), and, in return, Grigor gave him lessons on
Armenian music.
Soghomon was not close to Kara-Mourza and, in addition,
he led the reactionary group that waged a struggle against him,
lowering himself by insisting that "God was one, so there must
be one voice in music too," to which Kara-Mourza wittingly
replied, "You're forgetting that God is the union of three
beings." This would lead to the dismissal of Kara-Mourza and
his being replaced by Soghomon himself. Kara-Mourza gave
Grigor all his belongings and strongly encouraged him to go to
Tiflis, Moscow, or Petersburg to continue his music training
and also his general education.
Grigor made his first attempt at polyphonic music, trans-
forming some folk songs into four voices, such as "Andzrevn
Yekav", "Vay Leh, Leh", "Sona Yar", "Arazoun Baghouh
Mean Am", "Hov Arek Sarer", "Yeri Yarum Oy, Qy". During
two consecutive summer vacations, he went to Tiflis (to his
rich paternal uncle's) where Dr. Tarsaidze treated his eyes and
where he also took private lessons with Makar Yekmalyan to
enrich his musical knowledge. Bowing in reverence to
Yekmalyan's musical talent, Grigor nevertheless didn't like his
drabness, visionless verbosity, and extremely conservative
direction, especially the circumstance that outside of religious
music, he had no other interests and he looked with disgust
upon any phenomenon that had no religious stamp.
In the fall of 1895, after finishing the course at the seminary
Grigor returned to his hometown of Shoushi. In the
Khandamiryan Theater he gave his first choral concert consist-
ing of village songs he had collected and arranged for four
voices. With the money generated from the concert and the
promise of help from the Zhamharyan brothers, he traveled to
Petersburg to continue his education.

126
In Petersburg from 1895 until September of 1898, he
attended Rapgoff's, then Polak's school for the theatrical and
dancing arts. In spite of his financial difficulties, he took
lessons in voice training, piano, music, theater, and dance.
Then, with Banchenko and Calafatti, he continued taking free
lessons in music theory and composition.
In September of 1898, he received a scholarship to attend
the state conservatory, to major in specialized music theory and
composition. He passed a very successful exam for Rimsky-
Korsakov, presenting in Tchaikovsky style some of his own
songs, such as two romances: "Yete Mi Or" and "Indz Mi
Khndrir," a song, "Arevelk," in the form of a waltz, "Sareri
Hovin Mernim," an Armenian folk song, also fifteen of his col-
lected village songs that he arranged for four voices and that
captured the attention of professors Rimsky-Korsakov, Liadov,
Glazunov, Solovyov, and Bernhardt.
At this time he had his own political beliefs. He was a
Socialist Revolutionary. He graduated from the conservatory,
spending six years there, from 1898 to the end of May, 1904,
under the cleansing hand of Rimsky-Korsakov, who had no
mercy for mediocrity. Grigor not only successfully completed
the composition course with talented classmates like Mikhail
Cherkov and Gnessin, but he also enjoyed fame as a talented
composer of fugues, for which he was granted one year of free
lessons. His fugues served as an example for future generations.
Even before entering the conservatory, in 1897 he tried to
organize an oriental ensemble. During his conservatory period
(1899), with the encouragement of Rimsky-Korsakov, Grigor
sent some of his works to the censor's office, having in mind
to publish them later. The songs were "Indz mi Khndrir" (lyrics
by H. [Hovhanness] Toumanyan), "Akh al Vardi" (lyrics by A.
[Avetik] Isahakyan), as well as two notebooks of folk songs for
four-voice choir. These songs remained in the censor's office
under lock and key for four years. Then in the Fall of 1903, Dr.
A. Budaghyan paid to publish these works in the Armenian
"Pushkinian" Printing House. Akh al Vardi and the first
127
volume of folk songs, "Sareri Hovin Mernim," "Habrban,
"Oy Nazanum," and "Saren Kou Ga" were included in 1904
publications.
In the history of publications of Russian Armenian choral
folk songs, his first volume published in 1903 had no prece-
dent. In 1904 he wrote songs about workers that also had no
precedent in Armenian life. In these songs he calls upon the
serfs, laborers, and villagers to unite "to support the cause of
labor and open the road to socialism." The members of the
Dashnak Party distorted the words to "Dashnaks support the
cause of labor."
In 1899 he was given the position of church choir director
which somewhat relieved his serious financial situation.
During this period, using his position, he cleverly changed for
the first time (before that nobody had used the method) sone
religious music pieces. By contrasting polyphonic voices to the
homophonic, he opened a new epoch in Armenian religious
music. Later on he burned these pieces along with songs that
didn't, at the time, coincide with his political thinking and ten-
dencies. If something did indeed survive there is a need to col-
lect them, because those works may shed new light in the his-
tory of our sacred culture. His "Sourb Sourb" can be found
with musicologist Gourgen Mirzoyan, "Miashabat" was found
in his brother's papers while "Kristos I Mej" and "I Verin
were published in different issues of G. (Garegin) Levonyan s
"Gegharvest" magazine.
In 1901 he finally organized the first Oriental Cultural
Ensemble, which gave a performance in the Hall of Benevolent
Meetings during the annual program of the Armenian student
union. In 1902 he wrote two romances, "Miayn Kez Hamar" by
Ada Negri and "Mayisn Yekav" by H. [Hamazasp] Hambar-
dzoumyan. In 1903 he received a work permit from the Imperial
Music Society to go to the Caucasus and organize concerts.
After the first big concert in Shoushi the next day, Golitsin'S
officers searched Grigor and placed him under their watchful
eye, and canceled all his concerts under the pretext that with the
r
128
proceeds from the concerts, Suni was arming the people against
the government to solve the agrarian reform problems. [Prince
Golitsin was Governor General of the Caucasus].
In 1904 he participated in a music competition based on
Isabella Grinevskaya's "Bab" dramatic poem depicting Persian
life, and from more than thirty musicologists in competition,
Suni won first prize. In ten days that piece had twelve perfor-
mances after which the government forbade any other perfor-
mances and confiscated the text along with 18 pieces of music.
That same year he organized his first quartet of refined neyer
[ney is a duduk, like a wooden oboe] that became an object of
admiration for Rimsky-Korsakov and Liadov. Rimsky-
Korsakov even tried to include that instrument in his sym-
phonic orchestra but the lack of a specific instrument and expe-
rienced players prevented this from happening. Toward the end
of the summer of 1905, Suni, along with Armenak Ter-
Mkrtchyan and Zatikyan (with the nickname Smerch -
Tornado), was actively involved in organizing the soldiers and
sailors. Because of these activities he was pursued and
searched, but that fall he accepted an invitation from the
Nersissyan School [in Tiflis] to replace Yekmalyan.
While teaching at the Nersisyan School, from September
1905 to October 1908, because of his position as a leader of
agrarian reform movements in Lori, he was pursued by
General Zolotaryov's group of Gendarme Cossacks and by the
police. Because of this he fled to Turkey. Nevertheless he was
the hero of the day in all realms of Armenian musical life, who
singularly carried on his shoulders this serious responsibility.
During this period he disregarded the mentality that in
school only those students who had a natural-born talent for
music or had hereditary qualities could succeed in music class-
es. Because of this false conception 80% of the students had
been freed from music classes. But Grigor Suni struggled vig-
orously to make music classes at the Nersisyan and Hovnanyan
schools not only mandatory for everyone, but also a priority.
Suni raised the quality of the choral groups so high that, under
129
his direction, they were able to successfully perform choral
pieces of translated operas (by Aristakesyan) as well as
enhance the performances of the Armenian Theatrical
Company, and school and public gatherings.
He tried hard and finally succeeded in separating the church
from the school. At the funeral of Archbishop Aristakes
Sedrakyan, the choir of the Nersisyan school didn't participate.
This incident created an uproar in the pages of "Mshak" which
was the result of this struggle. Unfortunately, his followers
were not able to carry on his achievements.
In 1906 he wrote the operetta "Aregnazan," by G.
[Ghazaros] Aghayan, [opera having had?] that had no prece-
dent in the life of Russian Armenians. Later this operetta was
staged in the Artistic Theater by the Armenian Theatrical
Company to benefit actor Araksyan. Continuing to be in his
political thinking a left Socialist Revolutionary, during this
period Suni worked with a group of Dashnaks on a new revo-
lutionary program (he belonged to an opposition "separatist"
group) and played a big role in organizing workers and peas-
ants, as well as terrorist activities.
In those days he wrote workers' songs "Hogh yev
Azatoutyoun (Land and Freedom)," "Anoghok Krvi Sheporeh
(The Trumpet of Inexorable Struggle)." At the end of these
songs he calls the workers, landless peasants and freedom-lov-
ing intellectuals ("to rise up and destroy tsarism, feudalism,
and capitalism and to establish socialism"). He also restored
some Dashnak chauvinist songs, changing their words and giv-
ing the songs a proletarian quality.
In October of 1908, a disguised Suni escaped from Batoumi
to Turkey in a Laz raft. In Trabizon, Samson, and Kirason he
organized very enthusiastic concerts of Armenian choral and
orchestral music, as well as some Armenian-Turkish-Greek
concerts. Then he traveled to Lesser Armenia and on his way
from Samson to Sebastia he collected and studied folk songs
and dances from the surrounding villages.
In Samson he tried to organize a break-in at the armory that
130
belonged to the military authorities. He wanted to distribute
2000 new model rifles with millions of bullets to arm the peas-
ants and workers. But the Dashnaks who were friendly with the
Ittihad, "the authorities in Constantinople," not only interfered
with Suni's already designed plan but also in the most vile
manner (including the threat of betrayal) tried to eliminate this
"dangerous" person by isolating [ostracizing] him.
It was after this that Suni wrote a song: "Rise up laborers
with muscular forearms. Strike the anvil with your hammer.
Crumble the old and build the new. Death to this dark system
of capitalism and long live Socialism; adopt this slogan."
Making Trepizond the center of his operations, he had an
opportunity to do some research on the remnants of folk songs
sung half in Armenian, half in Turkish and the life of Haynak
(Armenian Muslims) who lived in the river valleys of Surmene
Karatere and Yambol. In 1910 Suni moved to Erzurum where
he continued the same work on a wider scale, spreading his
activities into Hamshen, Jermel, Deresi, Tortum, and other
nearby regions. The results of this research were enclosed in
two big notebooks which he presented to the Mayilyan expe-
dition in Tiflis (to poet H. [Hovhannes] Hovhannisyan) but one
doesn't know what was the fate of these notebooks.
In Erzurum while working at the Sanasaryan School where
Professor A. Khachatryan was principal, Suni established a
new epoch. He founded a little symphonic orchestra, a choir
for four voices, upgraded music lessons to the highest stan-
dards and became the favorite teacher among his students. He
acted in similar fashion in the Armenian national school.
Outside of school, he established free voice and instrumen-
tal music lessons for young laborers, and with these students he
formed the first Armenian workers music band, comprised of
40 individuals, which became the envy of military orchestras.
He also formed an 85 member coed choir that played a great
educational role in far-ranging Armenian and non-Armenian
circles in towns and villages. At this time his relationship with
the Dashnaks intensified, but their insults and dirty politics
131
were useless in trying to win over the laboring masses. The
unions that Suni formed with the working peasantry continued
to multiply and grow strong.
Suni was not content with only this type of activity. Every
year he would devote four months to collecting Armenian folk
songs and music. Traveling to the provinces of Erzurum, Bitlis,
and Van he would collect and study a huge number of folkloric
materials (seven thick notebooks with almost 500 songs,
including poems "Vren Ouzin" and "Heyran-Seyran").
While in Turkey for those six years he rearranged
"Aregnazan," giving it a popular operatic form. He also com-
posed "Revival," a symphonically arranged piece in five
movements. In the Fall of 1914 when the First World War
broke out, his [tyuoznakya] rare works, which had been
entrusted to the care of the missionary, Mr. [Robert] Stapleton,
were subjected to the same fate as the treasure that had been
handed over to this Christian pastor in Erzurum.
In Tiflis, Suni had his first encounter with musicologists of
the new generation - Ovsanna Ter-Grigoryan, Anoushavan
Ter-Ghevondyan, Romanos and Spiridon Melikyan, [Sargis]
Barkhoudaryan, and [Kristapor] Kushnaryan - and he engaged
actively in musical life. The hustle bustle began.
Under Suni's direction a big benefit symphonic concert was
held in the Royal Theatre with more than 100 orchestra and
chorus members and soloists participating. The concert fea-
tured orchestral works by Yekmalyan, Suni, Spendiaryan, Ter-
Ghevondyan, and Barkhoudaryan and songs for four voices by
Yekmalyan, Suni, and S. Melikyan. This was followed by the
Music Society's symphonic concert, where, along with the
works of senior musicians, the works of our younger musicians
- A. [Armen] Tigranyan, Mikayel Mirzaian, D. Ghazaryan -
were also performed.
This was followed by the daily concerts of the Tiflis
Protestant Church Symphonic Orchestra, which lasted exactly
two years and had as its official leader the only Armenian con-
ductor in Tiflis - Suni. The great demand for Armenian orches-
132
tral works spurred Suni to create original pieces and compelled
him to prod others to compose, as well.
During this period he became a member of the Armenian
drama group at the Zubalov public house, and for the Turkish
group, he wrote a musical drama entitled "Asli and Karam,"
which was presented there, under Suni's direction, on several
occasions.
Suni formed the Society of Armenian Musicologists along
with Ovsanna Ter Grigoryan, Anoushavan Ter-Ghevondyan,
Barkhoudaryan, and Kushnaryan ([Aleksandr] Spendiaryan
was permitted membership if he came to Tiflis and wished to
join). Suni began to research Armenian music and he taught at
the Kamoyan Music School, led by the threesome of
Yerznkyan, Khanoyan, and Vardanyan.
During the Republic of Armenia under Dashnak rule, he
refused on numerous occasions to accept an invitation to estab-
lish a state conservatory of music within the Department for
the Arts.
In 1919, during the Menshevik anarchy [...], Suni moved
on to Tehran, Persia [...]. There he established, in typical fash-
ion, musical excitement, by holding concerts and other musical
programs, and researching 8 of the 12 dasgahs that had not yet
disappeared from the memory of master instrumentalists.
In the fall of 1920 he left Tehran and returned to Tiflis via
Mesopotamia, India, Egypt, Constantinople, and Batoum, not
being able to travel through the English chain at Ghazvin (Iran)
by the shortcut from Enzeli to Bakou. This travel was both
long and exhaustive.
In August of 1921, in a sick, decimated condition, Suni
barely reached Tiflis, where he met with representatives from
Soviet Armenia, and in particular with Levon Toumanyan, the
Tiflis representative of the Peoples' Education Commissariat.
He donated his entire library to the Soviet homeland and
moved to Constantinople with the clear intention of returning
to Yerevan in a couple of years, after regaining his health, in
order to participate in the building of a proletarian Armenia.
133
In Constantinople, Suni taught music and choral singing at
the Berberyan, Yesayan, Kentronakan [Getronagan], Hintlyan,
Bezazyan, and Karagyozyan schools, as well as conducting the
Uskudar coed choir, at the same time giving encouragement to
the newly created "Hayastan (Armenia)" of which he was one
of the founding members and president of the music sector. In
the shortest period of time Suni created great enthusiasm in
Constantinople.
After concerts by the Uskudar chorus and separate perfor-
mances by various schools, which had already commanded the
attention of the entire public, Suni formed a united coed cho-
rus, comprised of 350 singers, trained them for six months, and
while he was about to announce their concert, the Kemalist cri-
sis began, turning everything topsy-turvy and compelling him
to move with his large family (9 members) to the United States
of America.
Setting foot in New York on Sept. 10, 1923, Suni immedi-
ately went to work, organizing musical performances and
choral concerts in all Armenian populated cities on the East
coast. After a big concert in Boston, Suni became ill with
inflammation of the lungs, forcing him to withdraw from his
previously mobile lifestyle.
Remaining in Boston in the fall of 1923 he established the
"Armenian Arts" society, holding several theatrical and musi-
cal concerts in Boston, Providence, Worcester, and Haverhill,
and he participated in an "international song competition,"
winning a first prize for Armenian folk songs. Then he gave
several public lectures on the arts, the significance of which
was how the red line of class struggle was shining, like a dia-
mond. He was consistent, and theory and practice were united
and in harmony. The coed youth had gathered around the mas-
ter, championing the arts and Soviet Armenia... preparing a
progressive battalion of new art...but Suni was bedridden at
Deaconess Hospital with complications from diabetes. How
happy would the militant prostitutes of the Armenian bour-
geoisie have been if the Master had permanently left the scene.
134
at But the lion Karabaghi squeezed sour lemon on all their hopes
in, and desires, and being out of grave danger, was now recuper-
he ating in Philadelphia, in the care of his dear friend, Dr. [Lucy]
to Guzelyan, who saved his life.
ne At the end of summer in 1925 in Philadelphia, still fresh in
In the memory of the community were the public lectures on the
in arts that Suni gave to the Armenian Student Society. This was
followed by the impression of the amazingly wonderful con-
r- cert with a chorus of more than 100 singers at the Metropolitan
ie Opera House on April 3, 1925. It was autumn. Suni had recov-
D- ered somewhat and was already back to work.
id An energetic period began in 1926. The "Hai Arvest"
i- (Armenian Arts) Society with its musical-theatrical and dance
m sections became a force here once again, and the chorus was
Is also ready and won a prize for song and performance in a com-
petition of nations. The Society also supported and enlightened
i- the events of all community organizations that were sympa-
d thetic to Soviet Armenia, to the proletarian homeland; isn't it
st true that it is now Communist?
h The tempo intensified in 1927. The Children's Opera Group
s already had presented an opera in three acts, earning the admi-
ration and astonishment of the community. They were sur-
e passed by not one, but two, adult groups, that presented very
complex pieces. All the Dashnak intrigues, conspiracies, and
I, entrapments failed in this purpose. The children, the youth,
" families and the public, full of enthusiasm, were wholeheart-
edly supportive of "Hai Arvest (Armenian Arts)" and its direc-
1 tor. It was too bad only that the Master broke his leg in three
places at the "HOK" (Armenian Assistance Committee) Fall
l picnic and it has been six months that he has been bedridden...
but he doesn't know what it means to be idle in bed.
During this period he produced a large volume of original
works, solo songs, duets, choral works, a series of songs trum-
peting the struggle and demands of the working class, and then
arranging for four voices and multi-voice peasant songs, espe-
cially those that highlight the exploitation of the working peas-
135
antry. He also arranged many, many pieces for orchestra.
Perhaps that accident was necessary ("there is always good in
evil"), to bring to life all that had been stored.
But work continued, as in Philadelphia, also in Boston.
Some of his students, full of energy, became conductors them-
selves. It was 1928-1929. Suni was back on his feet. With great
enthusiasm he continued to develop his previous projects and
began to create new ones. He had already formed a 50-member
Russian workers choir at the Russian House, given benefit con-
certs for them, and participated in a glorious all-workers cele-
bration as a memorial to Lenin.
He enhanced "Hai Arvest (Armenian Arts)" with a neatly
composed string quartet, at the same time giving radio concerts
with his chorus and soloists, producing great interest in
Armenian songs among Armenian and non-Armenian circles.
In the summer of 1930 Suni was invited to Boston, on the
occasion of the city's three hundredth anniversary, to form and
conduct a big chorus and symphonic orchestra. Time was
short. There were only 12 days to prepare. He reserved the
right to choose the choral and orchestral works that would be
played. He threw out of the program all the nationalistic (reli-
gious and secular) pieces.
In that short period of time he produced an artistically
exquisite chorus of more than 100 singers and a rich, compre-
hensive, and challenging program which earned the unwaver-
ing enthusiasm, admiration, and thunderous applause of the
entire Boston community. Let's not forget that we tore down
hundreds of tricolor flags, cleansing Symphony Hall of those
dirty pieces of rags that the Ramkavars had allowed in order to
appease the Dashnaks. The bitterness of the Dashnak defeat
could be seen those days in the polemic struggle that
"Hairenik" (Fatherland) [Dashnak newspaper] was waging
against "Baikar" (Struggle) [Ramkavar newspaper]
The Maestro's students continued his choral work and in
the next two years they won two new awards for Armenian
folk songs (Suni's) at international song festivals.
136
In the fall of 1931, the Armenian National Musical Society
in New York, after dismissing their Dashnak conductor K.
Mehrabyan, invited Suni as their director, agreeing as a pre-
condition to adhere to his red, class struggle policy.
In the shortest period of time, Suni turned a chorus of 30
singers into one with 119 and held several musical perfor-
mances, concerts, and radio programs featuring laborer and
peasant songs. In the winter of 1932, that chorus with soloists
and symphonic orchestra gave a fantastic concert in the
Metropolitan Auditorium on the occasion of "Armenian Song
Day."
The insincere silence of "Baikar" and the overt curses of
"Hairenik" were proof of the great victory of the proletariat in
the field of arts. That fall, Suni was bedridden and confined to
complete rest by doctors, due to dual complications from dia-
betes and heart disease. His students in Boston, New York, and
Philadelphia are now continuing the great work that their mas-
ter began, benefiting from his written suggestions, advice, and
assistance, while the master himself continues unceasingly to
create and to carry out the responsibilities of director of the
"Banvor" (Worker) musical section, that has already published
Suni's two laborers' songs - "Workers of the World-Unite" and
"Soviet Armenia."
137
AtxOul)A %U5] OM8'11MJ
pub %urubUAJ1 IlUb 8 ................. 5
ON BEHALF OF THE MUSEUM........................ 7
WM~urub ......................................... 9
PREFACE.......................................... 17
diu8 bueL&Sfnhra1ib.............................. 23
trurunr............................................5s7
ARMENIAN MUSIC.................................. 69
NOTES ............................................ 98
<bb-UlU lbu~rt~htb> ........................ 108
AUTOBIOGRAPHY ..................................124
138
GRIGOR SUNY
ARMENIAN MUSIC
4U.8 bpldl1'nwbI'~
Lkwxqnpntdr! 4 t 2wVpntdp' %ntpctbG %t.uuiywpjw~t
Designer Gourgen Gasparian
Museum of Literature and Art, Yerevan, Aram str. I, 2005
9pw4w~tujpbwu t wpnthuuij taw~cwpw~ji fpwinwpuAtu4 tb
bptatwG, Uqiwdbj I



k
1
r-
w
s:
L.
z
f;
4'
398015 07011 1518
III MIII I II 11111 II HII
NU NIVERSITY OF MICHIGAN

i
.
,
,.


Armenian Music

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Armenian Music

Uploaded by

Copyright:

Available Formats

Hay erazhshtutʻiwn / Grigor Siwni ; [English translation by Dickran

and Anahit Toumajan].

This work is protected by copyright law (which includes

Museum of Literature and Art

nqo rnC 1rc

4.ptuuQntr1iwG ti wpndiuuifi rautuptu

%VUq 85.31 (2<)

4puwunwpwllntrawG u~wuiptnilg WwuP/i " Wtr"120.ftiP

Prepared for Publication by Marine Mousheghyan

V Editor: Henrik Bakhchinyan

English translation by Dickran and Anahit Tournajan.

~I Translator of preface and editor of English text: Artsvi Bakhchinyan.

ql~ppjfituuipsulinipa iin fingtudiuanptq hG q~.pbiqnp Ubidlh pannp'

ujpnjdsunp fH'lUhL% U1rI"IlI4b

1 1 WD' qw~ud lUwfiwtpntfir UPwTO~ U V r u'r lw UUuh'Q

«cUhth tlptud~nulpu 1tfiujudtuG 17puqjbp*

nZ 2wfinttutphp fiuauunuinntj1iua xibngn{j

The publication of this book was sponsored by Grigor Suni's grandson,

Prof. RONALD SLNY

and his wife, pianist ARMENA MARDEROSIAN,

through the "Suni Project: Music Preservation" non-profit corporation.

4wutnnpG pt~rqp1 ntt 1: fiwi rpwuwluOG hpiud2um1tralwG iuailuwh Ghpl w-

IswgntghZQhphg dfhlah' %lpjinp Ulnt~nt «4wui 1apwtnuntalntG ntunidGtuuh-

pntranttip It hpqwfitu~li htiptiw14iuiqpntiant~p, npn0p rniiu laG itiuGnul

wniwuhQ wuGqaui: 2,uimnpnulf qthtjwb tit lrn ptiwqptph w.GqgiptsG

rpwp qdtGn tramtG G hip :

In addition to his autobiography, this volume includes the research study

"Armenian Music" by Grigor Suni, a well-known figure of classical Armenian

English translations of those works.

S4905000000 2005 q-Uq' 85.31 (2<)

tlhirti n~fi 1iptdwd~utG 4 Q n Gr}.~hp u di Gp: lJiumi u iwfi-

ugtu~ijnuX hQ firm liptudjiihtph in thpwd~tnuiuit pli 2nip

170 wQ~itimwutG wpluittlip in f wuptubnnihp, npnQ~ ~rL

qplpinXtiQ 130 000 inuIa (altnuqptip, uiqrliuqplxp, bptuqptip,

GttuqtutGG1ip, ~ptup4iuunii npbr1ip Ii tuiff): U~uit 1q

fiuitipdhnphQ fituiqp4wuilq S. 2ntuuui1wGji, tlnuljtnnwui, 1U'.

U~inn h 4firmi hptd2UnnlaltuQ ilifltu lUf2flP Qhpuittgntgbi li-

pi uipjui4flhipp: 'Iptug finTuiG ijpwu cp4.1 4 tiqpi~fiml hQit-

GtqpintrinQlip, uihktuijununtaniGGthp. qgnrntpiiQ finltuib-

mntupup Qntlp dnnttntihp: luugtiu opb Gwl1, iji1Iui1Awp~unuI

juiGqlupu~nu1 utufiu uIQ4nq tuplitiuiG Ginrlpbi fijittuQ

itpwn 6ptuntuptutiliUtifipw upudjnur hiQ i11zbQ'1nfimtuuji

hpl bipt wrtailituQu fiuuinp Glipp: UuliGp Guilt, rip ltipPQ

mnui lpi G r U uGtupui ~fiptui uptuIlnlrantp p Uraip gnrjji

uh rpuUi phig GQuilt 1Jniiui u 4uqinil uialutipmlip U~p-

pjiU in utu wqnpbntraup it 1p11tuih lntiapidnlntjunt-

Uip, PUudiuGQuilt fiuti uiQ4tui bp tufituG blilinl t upu~ilip-

iui~fi uui qgtunpbntjainUU~i pt ~ugtiwnnplup:

U,1ld1 uilupGralipgnrq fiui~pntraiuU lip Ulip~wutug~nt

qnip lJ'jipquu i Ujnt w 2uijlipu d2umntr1inUG. uni uui2luui-

uin1la1n1Up: 4tul puiqaluiluipiQ hpuid2um taluG fluitunnmn

ujuiuiuni~ntGp GUlituug~nq tuiu uipdliptuinp rilunulStuui-

pnqrant~p fitpiuip lip qtq lGlipl.tuijuig~l Quilt w~ql1iphQ

aupqituiGntituilp, filui uipi4uuiji uitrqfitupniui p~uiuiw4ui

i~u ujiU npnaul~h tiin1 iptugnuXuun ltuip GQuilt ouiui-

npn2 judpwq~puAtu dTh2tunniiatudpr, pwQtb np RtrffituGw

rG -4iGj tqiutnfi&un~tipn4 tuiQ F hQIRU up1il 4tiptGw1uG 11w

ilu: Shipuuip btuGnawqpghl t, 1.tuuiwpitthl hG npn2 nulrlwu-

qpu1u rn 4inuilpuijuiG f2qptnnu5sGtp, UIQQ2iu 4p6tnnu5-

Qtip, qpt ti t tstuuGwqudntttuG wntu tupwQG:

uJ2unnIlau~n fititnul tZ %Ipfqnp Upn~ni. btlp~wiG-

utuqpn tl~n tGp, n p Q1hp 4 uitug Gn uI t ip tulut uin p 4n ui n q b-

uinpli 4t hpud~tnuqliini 41tuQ nt qnpbrntQtinilalw fiwtui-

qpl- fipuinuwudnilatuQp ilibujhu Qugtuutnil iG q cp1-