Max Richter - The Waves - Suicide Note (1941) by Virginia Woolf .

Amwaj

lyrics:

i’ve been in such a haze these days
it seems as if my minds a maze these days
like i don’t know what way is the way these days
but i guess i shouldn’t complain

but i’m told that if i bite my tongue
then how should i expect to get anything done?
if i don’t voice my thoughts and my opinions 
then it’s my fault, i am the one
to blame

oh what a shame
i ruined 
a good thing
again
then blamed it on my friends 
then blamed it on the men 
and the ones from before who got away 

well, i know i’m only five feet tall
but not once in my life did i feel as small
as when i was with my former loves
but karma did what it does

and i have found peace in my misunderstandings
and all my “demandings”
or so they would say
but i don’t think that i am
to blame

so what a shame
you ruined 
a good thing
again
then blamed it on your friends
you’d rather close your eyes 
block your ears 
than to ever face my pain 

well i guess i was wrong
i guess i was wrong again
about you and all of your friends
like i was back then

well i guess that i’m down
and i guess that you’re out again
and you’re partying with your friends 
like you were back then

five feet tall (acoustic)

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Rencontre

Manfred Leuchter a voyagé à travers le monde depuis des dizaines d'années avec son instrument, l'accordéon. Interprète musical international, il est ouvert à et vit de nombreuses "rencontres" exceptionnelles, qui aboutissent souvent à de nouveaux projets passionnants. En 2014, il a accepté la proposition de Mohamed Najem de venir à Ramallah pour jouer dans l'album de lancement de ce dernier.

Mohamed Najem représente une nouvelle génération de musiciens hautement qualifiés du Moyen-Orient. Comme Manfred Leuchter, le clarinettiste, qui vit à présent à Paris, a les yeux et les oreilles ouverts au monde entier, et ensemble, ils ont lancé nouveau projet musical sur scène. Ils partagent une insatiable curiosité de l’univers musical de l'autre, et conjointement, ils présentent leur propres morceaux, explorant ainsi les différentes possibilités entre la composition et l'interprétation. A partir de genres musicaux très différents, tels que la musique arabe, la tradition classique et le jazz, ils élargissent les frontières sonores de leurs instruments.

ENCOUNTER

Quand il Pleut à Marrakech - Manfred Leuchter

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Originally conceived as a Royal Ballet-commissioned collaboration between composer Max Richter, choreographer Wayne McGregor and artist Julian Opie, Max Richter’s gorgeous score to ‘infra’ is deservedly given life of its own in this album-length release from FatCat’s instrumental/orchestral imprint 130701 Records.

The initial setting for ‘infra’ was as a ballet - written in autumn 2008 and premiered in November of the same year at The Royal Opera House in London – although here Richter’s score is given the full scope of a standalone new album. Expanded and extended from the original piece, ‘infra’ comprises music written for piano, electronics and string quintet, including the full performance score as well as material that has subsequently developed from the construction of the album – more a continued reference to the ballet than as a “studio album” in the strictest sense. The composition resonates with Max’s characteristic musical voice – majestic, involved textures; fluent and sweeping melodies; an enigmatic and inherently intellectual understanding of harmonic complexities that compels and mesmerizes.

Richter’s work on the ballet came initially from McGregor’s invitiation, a request for 25 minutes of music for his piece, inspired by T.S. Elliot’s ‘The Wasteland’ and named after the Latin term for ‘below’. This eventually became more collaborative as the project developed – Wayne would ask for Max to extend or alter certain passages of music in accordance with his own amendments to his choreography and concept, whilst logging the whole process for a BBC documentary (broadcast, along with the ballet in full, on BBC2 in November 2008). The dance performance was backed with digital images created by Julian Opie – observational scenes of street life, haunting and curiously balletic despite being of the everyday – and Max’s score is an appropriately close reference to the traveling theme:

“I started thinking about making a piece on the theme of journeys. Like a road movie. Or a traveler’s notebook. Or like the second unit in a film - when the scene has been played, and the image cuts away to the landscape going by. This started me thinking about Schubert's devastating and haunting "Winterreise" (Winter Journey), so I used some melodic material from Schubert as a found object in parts of my new piece.“

The recording of ‘infra’ took place in one day at London’s AIR Studios – recorded onto 2” tape, engineered by Nick Wollage and overseen by Max - before a return to the mixing studio (Max’s StudioKino and Trixx in Berlin) for Max’s typically intricate and lengthy process of crafting completed pieces from the recordings.

Journey 4

Stream/Buy on all digital platforms: https://fanlink.to/Oror
Official Music Video for "Oror" https://www.youtube.com/watch?v=tB_RDnRXCrA

On September 27th, 2020 a war was started in my homeland. Since the beginning, the war has changed countless lives and terminated numerous ones. The war continues to do so to this day. I would like to devote this song to the fathers who didn't get to hold their babies, and to the mothers who didn't get to hold their sons.

The word օրօր (“oror”) meaning “lullaby” in Armenian comes from the root word օր (“or”) meaning “to move”, mirroring the endless back-and-forth motion of the rocking cradle. Armenian folk lullabies have been transmitted orally from one generation to another in a range of local dialects. They are full of historical, sociocultural, and ethnolinguistic information." - Nairi Khatchadourian, "aha collective"

Composed and Performed by: Miqayel Voskanyan
Produced by: Oberton Records
Music by: Barsegh Ganatchian (1885-1967)
Lyrics by: Raphael Patkanyan (1830-1892)
Artwork: Atam Rasho
A creation by "aha collective" curated by: Nairi Khatchadourian
Recorded, Mixed and Mastered by: Sergey Gasparyan (Alpha Sound Studio, Yerevan, 2020)
Management by: Lusine Voskanyan

Project supported by the Smithsonian Center for Folklife and Cultural Heritage

Follow Miqayel Voskanyan:
Facebook: https://www.facebook.com/MiqayelVoska...
Instagram: https://www.instagram.com/Miqayel.Vos...
Twitter: https://twitter.com/taroskanyan
Contact: lusine.bm@gmail.com

© Oberton Records, 2020

Oror

Oror - Miqayel Voskanyan

Started with some of the noises in my head during the COVID lockdown. Pocket studio/other caveman recording tech! See Playlists for the "album" sequence ;) \m/ 
Some creative writing for grins if I think there's a collection/playlist that makes sense or goes together in sequence at some level.  Waaay too much lock-down time in 2020, started as a way to share songs and riffs w/friends and became way too much fun. (Now if I could play/mix better!!!)

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