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Edward Artemiv-Urga-Russian Theme

Digital Prophecy

Wood Talk

"Invisible" is the 3th track from the conceptual studio album "Nightology".

“Nightology” is a contemporary Armenian jazz album featuring tracks produced in collaboration with the Hover State Chamber Choir.

The full album is available on all music platforms: streamlink.to/NightologyAlbum

Produced by Miqayel Voskanyan
Composed by Miqayel Voskanyan, Arman Peshtmaljyan
Choir arrangement by Arman Peshtmaljyan
Arrangements by MVF Band

Miqayel Voskanyan: Tar, Lead vocal 
Arman Peshtmaljyan: Piano, Keys
David Melkonyan: Soprano Sax
Gurgen Ebejyan: Bass
Movses Ebejyan: Drums
Choir: Hover State Chamber Choir 
Conductor: Sona Hovhannisyan

Recorded and edited by: Arman Avetisyan (Sharmony Studio, Yerevan 2017)
Choir recording by: Sergey Gasparyan (Alpha Sound Studio, Yerevan 2017)
Mixed and mastered by: Jean-Etienne Loose (Tonehouse Studio, Paris 2018)
Music production by: Miqayel Voskanyan (Oberton Records, Yerevan 2018)

Follow Miqayel Voskanyan:
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Soundcloud: @miqayelvoskanyan

Follow MVF Band:
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Contact: bandmvf@gmail.com

© Copyright: 2022 Oberton Records
℗ Production: 2023 Oberton LLC
#MVFBand #MiqayelVoskanyan #Nightology

Nightology

Invisible - MVF Band feat. Hover State Chamber Choir

Gone

Ancient Blood

A Burning Holy Land

there's a bluebird in my heart that
wants to get out
but I'm too tough for him,
I say, stay in there, I'm not going
to let anybody see
you.
there's a bluebird in my heart that
wants to get out
but I pour whiskey on him and inhale
cigarette smoke
and the whores and the bartenders
and the grocery clerks
never know that
he's
in there.

there's a bluebird in my heart that
wants to get out
but I'm too tough for him,
I say,
stay down, do you want to mess
me up?
you want to screw up the
works?
you want to blow my book sales in
Europe?
there's a bluebird in my heart that
wants to get out
but I'm too clever, I only let him out
at night sometimes
when everybody's asleep.
I say, I know that you're there,
so don't be
sad.
then I put him back,
but he's singing a little
in there, I haven't quite let him
die
and we sleep together like
that
with our
secret pact
and it's nice enough to
make a man
weep, but I don't
weep, do
you?

There's a Bluebird in My Heart (feat. Charles Bukowski)

Oud Solo - صولو عود

Marcel Khalife, Peter Herbert, Bachar Khalife -Taqasim 1

J. S. Bach - Ich glaube, lieber Herr, hilf meinem Unglauben BWV 109 - Karl Richter

Movement I: Moderato—Allegro moderato

The Piano Concerto’s first movement unfolds in a full-fledged sonata form, launched by a dramatic introduction of imposing solemnity, in which Jandali draws inspiration from two genres of vocal music. The mawwāl is one of the most widespread genres of sung poetry in the Arab world—especially popular in the Syrian cities of Homs, Ḥama and Aleppo—performed in improvisatory style often with its rhymes extended by elongation of its vowels. The adhān is the call to prayer that can be heard five times a day from mosques throughout the Muslim world. Jandali colors these improvisatory-sounding melodic phrases with drumrolls, piano flourishes, and gut-pounding chords. These subside into a sparer texture highlighting the piano and plaintive string fragments led by cellos resonating in their lowest register.

The somber drama of the introduction provides the perfect foil for the dance-like first theme of the exposition, bringing to mind the age-old concept of “laughter amid tears” so often depicted in the music of Eastern Europe, of the Middle East, and of persecuted peoples of many cultures. The piano presents both this lively theme, based on a samā'i (instrumental piece) in the Bastah Nikar maqām (melodic mode) by Alī Darwīsh (1884–1952), as well as the lovely, lyrical second theme, which draws on an old samā'i in the Shahnaz maqām. Such a thematic contrast is not only typical of Western sonata form but also helps to convey the great spectrum of emotions that relate to the Syrian experience. Jandali heightens the contrast with a pronounced slowing during the transition that stems the rhythmic pressure of the first theme.

A compact development section builds gradually from a mysterious hush to a tremendous climax and the powerful return of the first theme. Quiet descends again to introduce an extended piano cadenza, which shows just as wide a range of emotions as the entire movement. The coda, containing a haunting recall of the main theme by the violins in octaves, begins slowly and, like folk dances of many cultures, builds momentum to a whirlwind conclusion.

Ancient Blood

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