MosJan

SAS jan isk kareli e vertsnel ? menq minj hima voch mekits vochinch el chenq vertsrel. yev xusapum enq verstneluts. yete hnaravor chlini grel / k@portsem artonutyun verstnel irentsits. portsenq Shutov avelatsnel bajin ur bolor@ karror en avelatsnel inch tsankanan. AnynuAmeniyniv SHnorhakel em SAS jan

Aneta jan na el Shat sirvats tra er, mot mek tary arach mahatsav, ir mahits heto iys Cd/ner@ mi qanis @bajanel eyin te sa Tatan ir hamar e yergel.

http://www.fringedigital.com/brook/babblin...g/wire_dg.shtml Djivan Gasparyan: Armenian Rhapsody from Wire, September 1998 by Julian Cowley [archived here without permission] For a long time, Armenian music meant Aram Khachaturian or the prolific Armenian-American composer, Alan Hovhaness. Then, in 1989, Brian Eno's enthusiasm for I Will Not Be Sad In This World, a recording first issued in the Soviet Union, brought the name of Djivan Gasparyan into view. Gasparyan is master of the duduk, an ancient woodwind instrument, whose sound provides a direct connection to Armenia's distant, pre-Christian past. Rarely can a musician have achieved such total identification with an instrument. Since he started to play at the age of six, he has grown to become its custodian and its champion. Now 70, he continues to explore new avenues for duduk music. In a telephone conversation with Gasparyan in Armenia, with his daughter Narine acting as translator, he stresses that the duduk is the quintessential Armenian instrument. In effect, he says, it provides the nation's voice, and in the eight yeras since his country declared independence from the disintegrating Soviet Union, that role has proved crucial. Gasparyan says he has never regarded his own role as simple conservation; it is clear that he views music as an adventure. Exposure in the West has had some unexpected offshoots. Lionel Ritchie was so moved by the sound of the instument that he invited the virtuoso to play on his song "Now You Are Gone." Gasparyan's daughter notes that this collaboration remains a source of pride for many Armenians. More signigicantly for Gasparyan, he formed an alliance with Michael Brook, who acted as producer for the 1993 album Moon Shines at Night, and shares credits as composer and performer on the latest project, Black Rock. On Black Rock, the richly sinuous music of the oboe-like duduk, fashioned from apricot wood, is perfectly at home in an electronic environment of guitars and keyboards. Gasparyan says that he adapted his technique, in consultation with Brook, to make the sound "more interesting," and he is delighted with the result. But although he talks of the recording as "a new category of music, which extablishes its own standard," he claims the melodies convey "a pure Armenian sound." The compositional process involved improvisation upon traditional melodic materials. A high level of mutual trust between the musicians is evident in the remarkably discreet and sympathetic contexts which Brook and his fellow musicians generate for the duduk's ancient sound. Also an accomplished folk singer, Gasparyan's voice appears equally at ease in these surroundings. The intrinsic range of the duduk is limited; the instrument requires nuanced expertise to realise its expressive potential. Gasparyan has furthered its possibilities by inventing a bass version. But, as Narine says, her father has accomplished far more, in effect, he has redefined the instrument, restoring its centrality within the conciousness of the Armenian people. 50 years ago, he signalled his commitment to folk tradition by joining the national song and dance ensemble. Yet in the same year he had his first professional engagement as soloist with The Armenian Philharmonic Orchestra. The status of the duduk as a concert instrument underwnet radical revision in his hands. In recognition, I'm told, he received the title of People's Artist of Armenia in 1973. It might sound alien from a Western perspective, but in Eastern Europe gold medals won in international competitions are a genuine testimony to his eminence. Gasparyan derives great pleasure from the popularity the duduk now enjoys at home. He says he is confident that his new project, initially directed Westwards, would win Armenian approval. He is currently preparing to record four pieces written for a quartet of duduks and the 100 voices of The Armenian Academy Choir. Another cherished project involves a large orchestra of duduks, featuring his many students. In October, Gasparyan goes to Los Angeles to perform at its first Armenian music festival. He is no stranger to the city, which has a sizeable expatriate community. Indeed, he says, in recent years he has been welcomed in Hollywood, where he has contributed to the soundtracks of films like The Crow and The Russia House. He makes it clear that, of his many and diverse musical experiences, he values his special kinship with Michael Brook, Brian Eno, and Peter Gabriel. After all, these are three facilitators who share his open and adventurous spirit.

Michael Brook on his collaboration with Djivan Gasparyan from Real World Notes 6 Interview by Chris Darke, July 1998 [archived here without permission] CD: I belive you've recorded with Djivan Gasparyan once before, a collection of the more classical Armenian repertoire. MB: It was for Opal, which was Brian Eno's label at the time. I think Brian had found a recording of Djivan when he was in Russia and I don't think he'd been released much over here and he licensed that from Melodia. They wanted to record a new one and we did it all in three hours. It was quite amazing (laughs). Djivan and his troupe said 'Is that enough? Have we done an album's worth of music yet?' We did it at a church in London and it was all to two-track, pretty much a live record. I think it was the first time he'd sung on a record available in the west and he's a really good singer. CD: When the troupe play is it long improvised peices or is there a struture to the pieces? MB: They're mostly traditional songs. I don't know if he considers himself a songwriter. CD: Presumably it's his interpretations of them that interest you? MB: Absolutely. They're very, very sensuous. With both Djivan and Nusrat, there's a soft side to what they do. It's passionate but there's also this delicacy that I don't think there is in Qawwali so much, it's generally a full-tilt kind of singing. Although Nusrat would do that at times, he was generally in a quieter, more delicate area. I think Djivan's the same. My understanding is that a lot of the music is traditional Armenian folk music which is a bit more in-your-face than what he does. CD: What was the attraction for you of working with Djivan as a duduk player? MB: It's an amazingly expressive instrument. It's just a little stick of wood with some holes in it and a reed, a very simple instrument. The expressiveness and the nuance that can come across are, I find, extermely involving, very much like a voice. He's the main practitioner of the instrument. It was that sensuous expressiveness that attracted me to it. Because we were going to be in the Canary Islands at the same time my initial instinct was just to record another traditional album, just take a DAT machine and record. Amanda Jones at Real World Records thought, well, there's already a few traditional albums - and I think rightly so. If you're not really into that sort of music then you won't be able to tell one album from another and the distinction is minor unless you really know the music. So Amanda suggested that we do more of a collaborative album and bring other elements into it, which I think is the right thing and I'm really pleased with it. CD: Do you consider this as one of your hybrid works then? MB: Very much so. It's totally hybridised. There's also Richard Evans who was technically the engineer, but he had a lot of musical input, he played flute, bass, and guitar and there's a lot of Djivan singing on it too. You could have had a record with duduk all the way though with different backing tracks but I felt that would not be that listenable-to, so there are long periods of time where there is no duduk so I think that's created a more eclectic and more interesting landscape for it to be in - I hope, that's what we are shooting for. CD: What did Djivan make of the venture? MB: He was very open to it. He was kind of working on spec quite a bit because when I met him to record the first time it was on very short notice and so all I had was a drone, maybe a guitar thing and a beat and that was it and he had to play against that, so pretty uninspiring stuff. Then we did a second session here where the backing tracks were a bit more developed. Still, I'm sure he won't recognise the backing tracks at all, a lot of the work was done after he'd done his bit. CD: Tell me about your 'musical consultant' on this project, Sam the Armenian cab-driver. MB: My wife got a taxi going to the airport and the driver was really nice, he said he was Armenian. She told him, "Oh my husband's working with an Armenian musician." I guess Djivan's like Michael Jackson there, I mean, like he's totally mega, so this guy was really excited we were working with Gasparyan. There are two songs were I had to chop up the lyrics and I didn't know if it was making musc sense so I asked Sam to come over and say are these edits OK? Would a typical Armenian have a problem with them? Actually, he was fairly enigmatic and I'm not sure that he understood what the lyrics were. I don't know if there's more than one dialect, because he said - "Oh yes, sounds good, everything's fine. But turn the duduk up!" (laughs) He's a really nice guy. CD: This sounds like what I heard happened in the Massive Attack remix of 'Mustt Mustt' where the vocals were edited for sound rather than meaning. Were you trying to avoid making inadvertent nonsense out of the literary meaning of the words? MB: On 'Mustt Mustt' there were a couple of edits I did that didn't make sense I found out later, so for 'Night Song' what I had to do was transcribe all the lyrics phonetically and be more careful about cutting on the middle of a line. CD: Cold you conceive of doing live performances with Gasparyan? MB: Yeah, it's quite possible. He's a great live performer. With that stuff it's always just a financial challenge, it's like with Nusrat - he just got up and did it. When you do these hybrid type things it's like weeks or more than a month usually to get it together and sometimes it makes it financially unfeasible. CD: Has Gasparyan been playing since he was really young? MB: I think so, he's about 70 now. He's like the national treasure of Armenia. He's a lovely guy, very warm, committed to his music but not precious about it. CD: You've worked with U Srinivas and Nusrat and you studied with Pandit Pran Nath, the Hindustani classical vocalist, you obviously feel a deep musical affinity with a particular sort of Indian music. Is there any sort of affinity you hear in the duduk? MB: Oh yeah, the use of drones and ornamentation are totally in common with Indian music. Melodically it's a bit different, I think that some of the modes that are used are more European. The way you bend notes and the use of the drone could be [from] Indian music. The drones are produced by two accompanying duduk players, they have a circular breathing technique so they can just keep it going forever. It's a strange gig for them because they must obviously be very skilled but they just play one note! When we did the [first traditional] recording they would very occasionally echo Djivan's phrases which I think they do in live work a bit. When we were in Lanzarote they transcribed a Bach piece for four duduks and that just sounded fantastic. http://www.fringedigital.com/brook/babblin...interview.shtml

yes el asum e te inchu em lag anum Hmmm'

SENATE PANEL APPROVES $90 MILLION FOR ARMENIA The U.S. Senate Appropriations Subcommittee on Foreign Operations has approved a $90 million hard earmark and an additional $3 million in military assistance to Armenia, as part of the fiscal year 2003 foreign aid bill, reported the Armenian National Committee of America (ANCA). While the $90 million in assistance is consistent with fiscal year 2002 levels, the proposed military assistance is a reduction from last year's $4.3 million allocation. The full Senate Appropriations committee is set to review the measure as early as today. Over the past three months, ANCA activists from throughout the country have sent thousands of letters to key appropriators asking them to support Armenian provisions in the foreign aid bill, including: aid to Armenia, at least at last year's level of $90 million; increased U.S. military assistance to Armenia; restored Congressional authority over Section 907; direct U.S. aid to Nagorno Karabagh, and; support for the Nagorno Karabagh peace process. These grassroots letters highlighted Armenia's role as "a reliable partner in the war on terrorism, a leader in the economic rebirth of the Caucasus, and an island of democracy in a strategically important region." They also stressed that, "American support for Armenia provides critical assistance for Armenia's political and economic reforms, and helps offset the impact of the illegal and immoral Turkish and Azerbaijani blockades - estimated by the World Bank at up to $720 million a year." The ANCA, in May of this year, also forwarded to Congress a comprehensive overview of the humanitarian needs in Nagorno Karabagh prepared by the Republic of Nagorno Karabagh's Foreign Ministry. This document underscored the need for renewed appropriations to help Nagorno Karabagh help recover from Azerbaijan's aggression, offset the impact of the ongoing blockade, and continue to contribute to peace and stability in the strategically important Caucasus region. The ANCA will continue to support issues of concern to Armenians Americans throughout the remainder of the House and Senate appropriations process, which will likely not be completed until after the August recess, and encourages friends of Armenia, at the appropriate time, to share their concerns on this matter with members of the joint House-Senate conference committee. © Copyright AZG

ANKARA TELLS US UNDERSECRETARY TURKEY DOES NOT WANT TO FACE ARMENIAN GENOCIDE BILLS Turkish senior officials told the visiting US Undersecretary of Defense Paul Wolfowitz that Turkey didn't want to face Armenian genocide bills in the future, as a precondition for its support to the USA in anti-Iraqi plans, Anatolia news agency said. © Copyright AZG

yes ban chunem grelu urraki 1 tary a ester ban chen grel asetsy mi hat poshiner@ arnem mek el tesar mek@ mi ban gry MOvses

quote:Originally posted by Sip: quote:Originally posted by MosJan:... Ham el HArouti TSnundna shutov n@ver enq arnelu. http://zr2.cs.ucla.edu/Sip/zr2/roflmao.gif Ed meke shat leven er !!!! Mos, have you heard of the 2003 Jeep Wrangler Rubicon? It's supposed to come out this August. Comes with front and rear Dana 44 axles with electronically engaged air lockers in both axles!!!! It's supposed to be a VERY sweet rig for offroading. I am waiting to see what the final price will be, but I think it'll be sub $30K for sure. http://www.jeep.com/autoshow/gallery/img/rubicon_1.jpg it the same old jeep look:) it's nice / and just fine for me ok i'll teak 3 - Karmir kapuyt - nar@njaguyn Movses

Welcome To HyeForum Rubo / Argishty MOvses

BY AzaT "Hey what is this about checks that Moveses is sending to people. All I get from Movses is a case of beer." Azat jan Karora xmel@ targel es?? ok muys tary StarBox FrapaCapaArmoChino kurarkem qez:) Seaphan jan es hsbatvanits qo $$$ el chem talu Gortser@! tuyla Papirozi $$ chka Ham el HArouti TSnundna shutov n@ver enq arnelu.

quote:Originally posted by Accelerated:No, I dont get anything! Mos better fix me up soon or he might find me on his doorstep one day with a sledgehammer. sledgehammer ? Coll - i can use 5 of them - NEW - i'll pay you $2 each

ya i know Seaphan jan / planetary gears at the wheels / was one of the good thinks on h1 / h2 is just a cool $UV thats all

m5 ? it's a nice car but not for me can not do any 4willing I was #7 on the list at our BMW dealer / yes it was fast and the salesman laughed at me wan I told him that this is not for me / I can not use this for 4willing. the new one that i like other then the new h2 is the MBZ G-Vegan "Rabiz-Vagen" I do not know way but I love this car it's cool [ July 17, 2002, 04:43 PM: Message edited by: MosJan ]

Cars Cars Cars EhHhhhhhh I do not like sport cars my self - > Any More <- even tough I do drive fast at times. now days I’m more in to Family cars 4 doors - something you can fit a car seat in it. i do enjoy 4willing - and driving 4x4 cars - one of this days I will get hold of a 40's U.S. Army Jeep Willys-M class and see if i can make a monster or a 70's toyota Land Cruiser I have made up my mind wan I grow up I will be like Seaphan : He h a

quote:Originally posted by Harut:by now you should have noticed that, Sip. our Movses is either "tlik" or French. che aper Flansyatsy @engeRuhi uneyi mi jamanak - iRanits em varRraqverRr. Ba He ha

Shnorhakal em Uremn iyspes Zarmanali Visht - Amazing Grace Tariner - Years Dle YAmen Adana Voghb@ - lament of Adana or Adanas lament Mush Qele Laow - LEts Go my kid - or - Lets / Walk / Come Lao Parzir Arbyur - ? Zinvori Yerg - Soldier's Song Mi Lar Blbul - ? - i need 2 mor Thank you - all

quote:Originally posted by Sulamita:Bari or sireli HyeForum-i andamner Knereq, yes eli xosqis ter@ chegha yev kora arants zgushatsnelu Incheve, shat uraxali e tesnel nman hrashali norutyun. Tekuz yev ch@karoghatsa vochinch kardal www.armenianpoems.com-i vra bayts vochinch, hamozvats em vor hrashali e patrastvats. Garik jan, menak piti ases inch fonter en indz petq ayd ej@ kardalu hamar. Shat shnorhakal klinem. Chem tsankanum xosq tal bayts kportsem aveli hajax aytselel HaykakanAsparez Shat heshta gna helpi tak amen inch iynter e

Thansk Azat jan your a life saver

308 ? i need 98pounds if i like to say a life :)since i work using saws all the time

ARMENIAN GENOCIDE IN OTTOMAN TURKEY AMONG MASS CRIMES AGAINST HUMANITY 16.07.2002 /PanARMENIAN.Net/ The 1915 Armenian Genocide in Ottoman Turkey, the Holocaust, genocides in Rwanda and Cambodia are among the 20-th century genocides. The participants of the international forum taking place in Saint Lorenso Spanish city the other day came to such a determination. Experts from Europe, the USA, Latin America as well as students and teaching staff of the Spanish Universities participated in the forum. Zorian genocide institute head, Professor Vahagn Dadrian gave a lecture on the Armenian Genocide at the beginning of 20-th century. All the people giving lectures had the same opinion on inadmissibility and fatal consequences of impunity of crimes committed against the humanity. Reproduction in full or in part is prohibited without reference to "PanARMENIAN.Net"

ARMENIA NOT TO SIGN ANY DOCUMENT WITHOUT NAGORNO-Artsax REPUBLIC CONSENT 16.07.2002 /PanARMENIAN.Net/ Armenia will not sign any document on Nagorno-Artsax settlement without Nagorno-Artsax Republic's consent. Armenian foreign minister Vardan Oskanian has stated that in his interview with "Azg" newspaper. He noted for last 10 years, Nagorno-Artsax had never been left out of the negotiation process. The OSCE Minsk group co-chairs visits to Nagorno-Artsax within the framework of the regional visits and joint consultations are the evidence of that. The Armenian foreign minister stated in the course of the Nagorno-Artsax conflict settlement this and next years, many things would depend on the Azerbaijan's position. The Armenian president Robert Kocharian's pessimism regarding that question mainly relates to the Baku's position, recent statements of the Azeri party and especially to unlikely facts recently presented by the Azeri president, he also noted. There is no Armenian or Azeri variant of "the Paris principles", there is only one variant- the Key West one, Oskanian noted. "At present, we are ready to continues the talks on the basis of "the Paris principles", to make serious progress and to achieve the final settlement of the issue not making it dependent on other issues", the Armenian minister noted. Reproduction in full or in part is prohibited without reference to "PanARMENIAN.Net"

EXHIBITION OF PHOTOS DEDICATED TO US 11 SEPTEMBER EVENTS TAKING PLACE IN YEREVAN 16.07.2002 /PanARMENIAN.Net/ In Yerevan, the American exhibition of photos named "After 11 September. Photos from tragedy zone" was opened in Yerevan. As the US ambassador to Armenia John Ordway stated at the exhibition opening ceremony, the goal of the exhibition is "to show the destroying power of the September 11 terrorist acts as well as the human and physical volumes of reconstruction". "The September 11 events are a tragedy of not one nation and our aim is to give the opportunity to feel all that", Ordway stated and noted the importance of the establishment of the coalition for the struggle against the terrorism, "due to which we have already had a success". The exhibition is organized by the US embassy in Armenia with the assistance of the Education and Culture Bureau of the US State Secretariat. The author of the photos is Joel Meierovich who is founding archives consisting of 5 thousand photos, at the instance of the New York Museum. Reproduction in full or in part is prohibited without reference to "PanARMENIAN.Net"

YEREVAN CAREFULLY OBSERVES ON EVENTS CONCERNED WITH ALIENATION OF JERUSALEM ARMENIAN PATRIARCHATE LAND 16.07.2002 /PanARMENIAN.Net/ Yerevan carefully observes on the events in Israel concerned with alienation of land belonging to the Armenian patriarchate of Jerusalem. Armenian MFA press secretary Dzyunik Aghajanian has stated that regarding the information on seizure of the Armenian patriarchate's land by the Israeli Army. According to her, at present, the work with Israeli authorities to find out the real situation as well as the reasons and aims of the activities of the Israeli Army are conducted through diplomatic channels. It should be reminded that the military authorities of Israel have stated about their plan to erect a separation wall between Palestine and Israel in that territory. Reproduction in full or in part is prohibited without reference to "PanARMENIAN.Net"

quote:Originally posted by Sulamita:Ter Astvats Hisusi pes du kyank m@tar Hisusi pes du heratsar Mi hush dartsar Ases tsurt er amran shogin Mayr@d handznets kez mayr hoghin Yev asats - Hovo, Astvats jan... Pokrikner@d ax tesan tsav Sirats kin@d ayri dartsav O, qar ashxarh... Amen lav sirt m@nats karot Yev amen mi tsanot u mot Kez asats - Hovo axper jan... Ur g@nats , ax, ur mer ser@ Giti na mer surb medz Ter@ Ter Astvats mi tanir laverin Ax arants ayn el kich en laver@ Ter Astvats mi tanjir laverin Ax arants ayn el mexk en laver@... Amen mard el petk e g@na Bayts inchu shut yev zur g@na Ax, zur gna... Arev@ mayr el misht m@tnum Isk heto ver e misht helnum Du ur es, Arev Hovo jan... Jermak havk es, vor yelar ver Jermak vank es, vor dartsar sev, Im lav yexpayr... Togh h@nchen yev kanchen zanger Shat baner ko mej es pahel Im hamest, bari Hovo jan... Amen mi mard uni mi dard Du tsankatsar, vor kertes vank Surb Karapet... Imatsir inch el mez lini Ayd vank@ piti ver yelni Menk piti shat u shat aprenk Vor kyankum misht kez hishenk Yev asenk - kenats@d Hovo jan... Xosk - Aramayis Sahakyan Music - Arayik Gevorgyan Performed by Tata In memory of Hovhannes Torosyan who died in a car crash and had a dream of erecting a "vank" called Surb Karapet. A single CD was made by his brother in his memory (15 copies) and given to all his close friends in his memory. If you guys do get the chance - listen to the song - it's very unique... Sulemita - S... Traner@ indz mi copy nvioretsin is yergi / iskapes hoyakap Ashxatanq e !!!Sakayn asem vor iyn chi grvats Pasadenayi Hoviki hamar - chnayats vor nvirel en iyd jamanak mot mek 1/2 tary araj - iyn grvel yev yergel en Yerevantsy Hoviki hamar - der Vanoyi jamanak n@ran spanel en . yerg@ grvel e i hishattak n@ra, Tatan yev Sharmi tranerin el xndrel en vor hankarts chvajaren yerg@ MOvses