“Perpetuum Mobile” in the Violin Works by Armenian Composers

Ruben Smbatyan
“Perpetuum Mobile” in the Violin Works by Armenian Composers

Introduction and Perpetuum Mobile for the violin and symphony orchestra (also version for the violin and piano) by the prominent Armenian
composer Edward Mirzoyan is an especial composition, a reference sample, turning point in the Armenian professional music.

It was a new coil of assimilation of the European cultural traditions. Before it, a long path to the assimilation of the lyrical-dance figurative system has been passed

For the first time in the Armenian music, E.Mirzoyan has created, complicated and developed the genre of motor, technically virtuoso Perpetuum Mobile piece, including in its dramaturgical outline the Dies Irae medieval catholic sequence. The latter has created the mournful character and the dramatic emotional density of the piece. Thanks to the musical symbolism applied, the basic figurative idea has been re-accentuated,
and the micro-cycle Introduction and Perpetuum Mobile has acquired the scope of the Artist’s meditations over the sense of life and the perpetual
motion, through the contraposition and surmount of life and death. Thus, the new edges of the philosophic comprehension of world and human existence
have appeared in Mirzoyan’s composition, enriching the concert piece genre with the application of a thematic program, helping to shape
out the psychological image of the composition.

The piece is well-known both among the performers and the audience, thanks to its bright concert features and emotional expressiveness.

The piece was performed in many countries by all the famous Armenian violinists, as well as by foreign musicians. Later, the violin pieces entitled Perpetuum Mobile, developing the traditions founded by E.Mirzoyan, have been composed by G.Hakhinyan, R.Altounyan, G.Hovunts,
S.Naghdyan, A.Khudoyan and many others.