Musicians can help heal bitter relations between nations, says Arzruni

“I’d like to be supportive of such a détente. To begin with I’m not a diplomat and have no business getting involved in such a political venture -- just a musician who is interested in human relations. You don’t prescribe such things. You take baby steps toward the goal,” he told Sunday’s Zaman from New York. Arzruni, who will be giving a concert on Sept. 18 in the province of Van prior to the historic religious service at the 10th century Armenian Church of the Holy Cross on Akdamar Island in Lake Van, mentioned that there have been other musical initiatives to contribute to peace.

“Just think of the New York Philharmonic, which visited North Korea last year and gave a wonderful and wondrous concert in Pyongyang. Think of the “Diwan” orchestra, formed by Israeli conductor Daniel Barenboim and Palestinian academic Edward Said, which brought together young Israeli and Palestinian musicians and tours the world,” he said.

Born in İstanbul, Arzuni graduated from the İstanbul Municipal Conservatory, where he studied piano with Ferdi Statzer and harmony with Raşit Abed. He moved to New York in 1964 to study further at the Juilliard School of Music and pursued doctoral studies at New York University.

Motivated by ethnic awareness in the United States, Arzruni continuously researches the musical roots of his Armenian heritage. He recorded a three-record anthology of Armenian piano music and co-produced an eight-disc set of instrumental and vocal Armenian music.  He has also delivered papers and organized symposia for such institutions as Harvard University, Columbia University and the University of Michigan at Ann Arbor.

Arzruni is the author of scholarly books and a contributor of articles for academic journals; he has also written for various editions of The New Grove Dictionary and the Dictionary of the Middle Ages.

He has become a familiar figure through many television broadcasts, such as the Johnny Carson and Mike Douglas shows.  He has been featured in a number of  PBS  specials – “Around the World in 72 Days,” “Gala of Stars” and “Carnegie Hall at 100: A Place of Dreams” -- and has recorded for European radio networks, including the BBC.

Arzruni has also performed with Victor Borge, playing the role of straight man in the master’s hilarious musical programs. As a teenage writer, he authored a textbook of music in his native İstanbul. As a performer, he recorded many albums featuring 20th century works intended for pedagogic use.

In 2006 he presented a marathon concert in New York City titled “Now & Then.” This concert compared and contrasted the works of Armenian composers through the Soviet era and since the founding of the modern-day Republic of Armenia in 1991.

Would you tell us what inspired you to give a concert in Van prior to the historic service at the 10th century Armenian Church of the Holy Cross on Akdamar Island in Lake Van?

My interest in Ahtamar is rooted in history. Since the church was built during the reign of Gagik Arzruni and since my surname is also Arzruni, I feel a spiritual nexus with my granddad. I want to commune with him on some level. I’m hoping that he might channel some of his creative energy to me!

Would you elaborate on your family ties that make the church on the island special to you?

As I stated previously, there is historic evidence that I am a direct descendant of Gagik Arzruni. What is important to me, however, is who I am and what I contribute to my people and culture. Don’t misunderstand me -- I am very proud to be an Arzruni. But I do not entertain aristocratic fantasies.

How has your application been received by the Turkish authorities? Have you faced bureaucratic hurdles on the way to realize your dream?

In 2007, following the renovation of the church, I did write to the Ministry of Culture and Tourism, expressing my desire to take part in the opening ceremonies, but received no reply. Now, on the occasion of the inaugural Divine Liturgy, everything worked out swimmingly, and there was a high degree of cooperative spirit among all authorities.

When do you plan to visit the island and the church?

It’ll be a short visit to Van, for my schedule is extremely tight. Ideally, I’d like to visit the island at night and experience the history alone and in isolation. Perhaps there will be a full moon. But I will definitely visit the research center of Van cats at the YY University [Yüzüncü Yıl University], hold one of the felines in my arms and make sure I have a photo. I also want to visit the food bazaar; I believe that the kind of food people eat tells a great deal about them. I hear Van kahvaltısı [breakfast] is famous, I must try it. I should visit Van Kalesi and see the Armenian stone crosses and cuneiform writings on the rocks.

You indicated in one of your previous interviews that you were not comfortable with the name “Akdamar” because it does not reflect the legendary story which is believed to have taken place on the island. Would you tell us the story?

You realize that the historic name of the island is “Aghtamar,” but the story associated with it is spelled “Akhtamar.” I think the word “Aghtamar” is of Persian origin and means an ankle bracelet (but don’t quote me, I’m not a linguist). However, “Akhtamar” is a famous poem by Hovhannes Tumanyan written in 1896 -- I have actually seen his manuscript in the Charents Museum in Yerevan. That year Tumanyan visited Van and a friend of his told him about a legend common among the residents of Van. The poet was so moved that during a single night, he penned the story, turning it to one of the most famous poems in Armenian literature. In short, the narrative is a love story. Every evening a young man would swim across the lake to meet his sweetheart named Tamar, who lived on the island. Because of circumstances, one day he drowned in the sea, while calling her name, “Akh, Tamar; akh, Tamar.” Thus, the island was named “Akhtamar.”

As a person of music and art, what plans do you have for further contributions to the Turkish-Armenian rapprochement?

I’d like to be supportive of such a détente. To begin with, I’m not a diplomat and have no business getting involved in such a political venture -- just a musician who is interested in human relations. You don’t prescribe such things. You take baby steps towards the goal.

Are you optimistic about the future of this rapprochement? What do you think is the most important element for its success?

Yes, I am. Just think of the New York Philharmonic, which visited North Korea last year and gave a wonderful and wondrous concert in Pyongyang. Think of the “Diwan” orchestra, formed by Israeli conductor Daniel Barenboim and Palestinian [academic] Edward Said, which brought together young Israeli and Palestinian musicians and tours the world. In fact, they are in Argentina at the moment.

In 2008, on the occasion the 175th anniversary of the foundation of the historic Surp Pırgiç Armenian National Hospital in İstanbul, you put together a program which you called “Ins & Outs,” and which highlighted the works of Armenian composers born in Anatolia, both in Ottoman times and following Turkish independence. Could you tell us about that?

During the 19th century, Armenian musicians had an enormous input into Ottoman culture. Starting with the Ziljian family and their world-famous cymbals; continuing with Hamparsum Limonciyan, who devised the New Armenian Notation and put on paper many classic Turkish melodies, saving them from certain demise; or Dikran Tchouhadjan, who wrote, among other works, the famous operetta “Leblebici hor-hor Ağa.” I’d like to record some of this material and prepare a book that would include samples of their manuscripts to retain their contributions permanently, available to the greater public.

What is your program going to be for the concert on Sept. 18? What special elements will you include?

A mixture of works by Armenian and Turkish composers. Adnan Saygun, Ferid Alnar, Yüksel Koptagel and İlhan Baran among the Turkish composers; Komitas, Hovhaness and Srvansdyans among the Armenians. The latter was born in Van in 1895. I will open the program with Hovhaness’s “Ahtamar” and conclude with his “Lake Van Sonata”. A symbolic statement, if you will. There will also be a viewing of a short film based on the music of Sirvart Karamanuk, depicting the story of Tumanyan’s poem, “Akhtamar.”

Which other artists will be joining you?

A wonderful baritone, Kevork Tavityan, who is on the roster of the Turkish State Opera. I have worked with him in the past, and his singing has always given me great joy. A terrific fellow. Also on the program, Sevil Ulucan, an elegant violinist, judging from her recent CD on Kalan Records, who will be a pleasure to work with, I’m sure. [I’m] Looking forward to it.

Could you tell us about your most recent musical endeavors in terms of new concerts, albums and studies?

I’m involved in İstanbul 2010: European Capital of Culture. Therefore, I am getting ready for that. Next year, it’s the centennial of Alan Hovhaness, and I have a number of engagements to celebrate the occasion.

You lived in İstanbul up until you were 21, and you still come to the city for visits. What ties you to İstanbul?

 İstanbul is like a second home. My aunt, composer Sirvart Karamanuk, who I used to visit several times a year, passed away only in 2008. Naturally, my ties with the Armenian community and numerous Turkish friends are a draw. Besides, I get to sample the superb food there. My latest craze is Çiya Sofrası.