An Orchestra is born : The OCDA
(Chamber Orchestra of the Armenian
"It is an " avant-première " in France. The creation
of a Chamber Orchestra in the Armenian Diaspora. In this orchestra,
there is a presence of armenian traditionnal instruments, and this fact,
in itself, is a "première"."
In a period of "cultural glaciation" in France, it seems to be mad to
want to create a new Orchestra.
If the "world music" are, more or less "trendy", it seems nevertheless
bold to mix on a stage, traditionnal instruments and a symphonic
orchestra - without being sponsorised by a great label !
To organize a concert in Paris, in a holiday period, and a Saturday
evening, not to complicate the whole, isn't it provocation?
It is even so that have done it Christian Erbslöh Papazian, and the
JAPEL Union, represented by Patrick Papazian (pure homonymy)
When, for a few months, I heared about this project, I have immediately
congratulated Patrick Papazian, without forgetting my doubts... : sweet
madness at a very moment when so much concert organisators have so much
difficulties, untill they close their offices.
When Christian Erbslöh Papazian, a few weeks before this concert came
and asked me a score, I accepted, thinking that madness infectious was,
and it is perhaps that why I accepted unitll the last day to rework my
And I came in the Concert Hall, token aback by the fact that it was
full, up to the stairs.
A few minutes later, the Orchestra comes in, followed by Mathilde Vittu,
who asks (and obtains) the silence on the stage and in the hall.
And my Ballade bursts... It is the first time I am listening it, and I
think I got more stage fright than all the musicians together!
The applause bombshell after the first movement shakes and reassures me.
The sincerity of the musicians in the second movement titled "in memory
of the death" touches me, and their brio in the last movement "derision"
The professionalism of the young conductor, who allowed this piece to be
played with only two rehearsals has been escaped by the enthusiasmfull
public, who will remember her name, when it will reread this name in the
future, surely a lot of time: Mathilde Vittu.
Only the necessary time to install the piano, and the young conductor
David Douçot gives voice to the magnificent woodwinds. And the whole
orchestra to give its best in a very beautiful dialogue with the pianist
Grigor Asmarian. This Piano Concerto is, alas, less played than the one
for the violin. Khatchaturian knew so much the instrument, that he knows
how to get the best of the instrument, to let it feel inspired, like the
classical music players of tonight.
To close this evening, Christian Erbslöh Papazian conducts himself
extracts from the Oratorio of Avedissian, from which he remade the
orchestration, by mixing occidental and traditionnal instruments of the
armenian folklore. The interpraters fully validated the initiative of
this conductor with a brilliant curriculum vitae, and a generous heart.
The solo singers gave to the public the opportunity to discover
beautiful, warm and tunefull voices.
This Concert has begun in the violence of the Etrange Ballade, work that
shows a battle against the death, and ends with notes of inescapable.
"the one who has hope, sees success where others see defeat, sun when
other see darkness and tempest" dixit O.S. Marden
Samedi 21 février 2004
Auditorium Frédéric Chopin – Paris 15
Orchestre de Chambre de la Diaspora Arménienne : O.C.D.A. (38 musiciens / 6
- Création Mondiale : L’Etrange Ballade – Eugénie Alécian
- Concerto pour piano : 2ème Mouvement – Aram Khatchadourian
- Oratorio : Extraits – Khatchatour Avétissian
Direction : Mathilde Vittu , David Douçot , Christian Erbslöh-Papazian
Piano : Grigor Asmarian
Instruments traditionnels : Aïda Nergararian – Kanone / Philippe Chahbazian –
Doudouk, Peloul, Shêvi
Organisation : Japel, groupement artistique
Orchestre de Chambre de la Diaspora Arménienne > direction : Christian