Torontohye/Թորոնթոհայ #200

«ՎԿԱՅՈՒԹԻՒՆ ԻՄ ՃՇՄԱՐԻ՛Տ Է. ԶԻ ԳԻՏԵՄ ՈՒՍՏԻ ԵԿԻ ԵՒ ՅՈ՛ ԵՐԹԱՄ» | Ապրիլ 2024 April

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Յարգելի ընթերցող, Այժմ կ’ընթերցէք մեր 200-րդ թիւը. եկէ՛ք պահ մը մտածենք այս եզակի հրատարակութեան ճանապարհորդութեան ու վերջին 19 տարիներուն թորոնթոհայ համայնքին մէջ անոր ունեցած դերին մասին:

2005 թուականի մեր անդրանիկ թիւին հրատարակութենէն մինչեւ օրս՝ «Թորոնթոհայ»-ը շարունակած է գրի առնել եւ հանրութեան ներկայացնել մեր սիրելի համայնքին պատմութիւնը: Մեր էջերը միշտ եղած են եւ կը շարունակեն մնալ թորոնթոհայութեան աշխոյժ ոգին արտացոլող հայելին: Անցեալ տարի մեր տպագիր թերթին վերածնունդն ու բոլորովին նոր կայքէջի յառաջիկայ մեկնարկը կը ներկայացնեն զարգանալու մեր յանձնառութիւնը՝ միաժամանակ արմատաւորուած մնալով մեր արժէքներուն:

2022-ին մեր խմբագրութիւնը որոշեց աւելի ուշադրութիւն դարձնել մեր համայնքին` անոր աշխոյժ եւ բազմաբնոյթ գործունէութեան ներկայացումը առաջնահերթութիւն ունենալով եւ հրամցնելով բովանդակութիւն, որ եւս մէկ անգամ ամբողջովին ինքնատիպ է եւ ստեղծուած նոյն նուիրումով, որ նշանաւորեց մեր թերթին ծնունդը: Այս որոշումը պարտաւորութեան կոչ մըն էր հանդէս բերելու հրատարակութիւն մը, որ ո՛չ միայն տեղեկատուական է, այլեւ մարմնաւորում մը թերթի հիմնադիր անձնակազմի տեսլականին:

«Թորոոնթոհայ»-ին շարունակականութիւնը

ոչ միայն կը վկայէ մեր անձնակազմին ու կամաւորներուն վճռականութեան մասին, այլ նաեւ ձեր՝ մեր ընթերցողներուն, մեր համայնքի անմնացորդ աջակցութեան յստակ վկայութիւնն է: Նախքան «բարի ընթերցում» մաղթելը, թերթին առաջին խմբագրականը կը յայտնէ հետեւեալ պարզ տողը՝ ««Թորոնթոհայ» թորոնթոհայութեան թերթն է: Բոլորդ հրաւիրուած էք զայն ընդունելու ձեր տուներէն ներս եւ մասնակցելու անոր վերելքին»: Ու գրեթէ երկու տասնամեակներ ետք, հրաւէրը նոյնն է. «Թորոնթոհայ»-ը եղած է ու կը շարունակէ ըլլալ թորոնթոհայութեան բոլոր շերտերը ներկայացնող հարթակը: Ան մեր բոլորինն է: Խորապէս շնորհակալ ենք ձեզմէ իւրաքանչիւրին ձեր անսակարկ նուիրումին եւ անկեղծ հաւատարմութեան, ինչպէս նաեւ ձեր ցուցաբերած վստահութեան համար՝ մեր աշխատանքին հանդէպ: Մեր սրտագին յոյսն է, որ ինչպէս անցեալին, այսօր եւս նեցուկ կը կանգնիք մեր աշխատանքներուն, որպէսզի շարունակենք մեր համայնքին ծառայելու 19-ամեայ խոստումը: ֎

Միշտ սիրով՝ Ռուբէն Ճանպազեան Խմբագիր

Dear Reader,

As Torontohye celebrates its 200th issue, we take a moment to reflect on the journey and the role this publication plays in the life of Toronto's Armenian community. Reaching this milestone is not just a testament to our team's resolve but a clear indication of the unwavering support from you, our readers.

From our first issue in 2005 to recent challenges and triumphs, Torontohye has remained a steadfast chronicle of our vibrant community. Our pages have always been, and continue to be, a mirror reflecting the dynamic spirit of Toronto Armenians -- a place where every voice finds resonance and every story significance.

The revival of our print edition last year and the upcoming launch of our brand-new website represent our commitment to evolving while staying rooted in our values. We are dedicated to promoting our collective interests, addressing concerns, and celebrating the uniqueness that binds us.

In 2022, we decided to return to our roots, offering content that is once again wholly original—crafted with the same dedication that marked our inception and with a renewed focus on the pulse of our community. This was a commitment to deliver a publication that is not only informative but also embodies the passion and dedication of the newspaper's founding team back in 2005.

We thank each of you for trusting us, engaging with us, and supporting us. We look forward to your continued support as we uphold the promise to serve the Armenian community of Toronto with integrity, inclusivity, and a shared passion for our heritage and future. ֎

Sincerely,

Rupen Janbazian Editor

29-րդ «Տոհմիկ oր»-ը ձօնուած էր Լիբանանի հայ գաղութին Լուսարձակ → 3 Անխափան երթ, «Թորոնթոհա՛յ» Կարծիք → 21

Տիրուկին հետ. Թորոնթոհայուն «Թորոնթոհայ»-ը Սիւնակ →25

Լենային հայկական [vegan]

խոհանոցը + խաչբառ + Armen's Math Corner + առանձնատառ → 26+27

vol. 19 No 4[200]

Թորոնթոհայ ամսագիր թորոնթոհայութեան ձայնը՝ 2005-էն ի վեր

416-491-2900

info@torontohye.ca

vol.1No1[1]

Celebrating a legacy of compassion and understanding: K.M. Greg Sarkissian invested into the Order of Canada

K.M. Greg Sarkissian, co-founder and President of the Zoryan Institute, was among the distinguished individuals invested into the Order of Canada, the nation’s second-highest honour for merit, in a ceremony at Rideau Hall in Ottawa on February 22, 2024. This prestigious recognition comes as a testament to Sarkissian's lifelong dedication to the study and advocacy of genocide and human rights, a commitment deeply rooted in his personal history and the collective memory of those who have suffered from such atrocities.

Appointed to the Order of Canada in 2019, the COVID-19 pandemic delayed Sarkissian's formal investiture until this year, allowing for a poignant gathering that highlighted his contributions to Canada and the global community. During the event, presided over by Her Excellency the Right Honourable Mary Simon, Governor General of Canada, Sarkissian's impressive body of work was celebrated, underscoring his role as a community leader, activist, and patron of genocide and human rights studies. He was introduced with the following description:

“A Canadian of Armenian descent, Greg Sarkissian is a well-esteemed community leader and activist. He is the co-founder and main patron of the Zoryan Institute, which strives to promote historically accurate analyses of large-scale traumatic events through multidisciplinary research, publications, and curricula. By establishing a graduate-level university program, he has helped Canada become an international destination for studies in genocide and human rights. Deeply involved with various minority groups and ethnic communities across Canada, he fights against the us-versusthem mentality with a compassionate approach that fuels his international reputation.”

According to a press release issued by the Zoryan Institute, Sarkissian dedicated his recognition to the memory of a righteous Turk, Haji Khalil, and the tragic fate of 11 Jewish family members in the 1930s in Germany. These stories not only inspired him to co-found the Zoryan Institute but also fueled his passion for combating the "us-versusthem" mentality that often pervades societal conflicts. His personal connection to the atrocities of the Armenian Genocide, through the survival story of his grandmother and her children, sheltered by Khalil, has been a driving force in Sarkissian's life. This narrative of survival against the backdrop of genocide has propelled him to ensure that such histories are remembered and learned from.

During his university years, Sarkissian attended a lecture on genocide and media organized by the Jewish student association, Hilel. The lecturer displayed a major American newspaper from the 1930s, with a man’s picture and a front-page

article featuring a headline about the man who had beaten his dog to death and his community’s uproar for the lack of punishment for such a crime. Several pages later, on page 26, underneath an advertisement about women’s swimwear, was a small caption, in a 1-inch square, about the murder of 11 people belonging to the same Jewish family. This was disturbing for Sarkissian, and he described how these two moments became pivotal motivations for his co-founding of Zoryan Institute.

His investiture into the Order of Canada by Governor General Mary Simon, herself an Indigenous Canadian and descendant of genocide survivors, symbolizes a shared journey towards healing and reconciliation. In his reflections, Sarkissian extended a hand to the people of Turkey, urging the acknowledgment of the Armenian Genocide as a step towards healing. "If Armenians and other victims of genocide do not do everything in their power to pursue the battle against genocide, they would have failed in their responsibility towards future generations," he stated, underscoring the importance of collective memory in preventing future atrocities. ֎

«Թորոնթոհայ»-ը

Գանատայի միակ հայկական ամսագիրն է. ծանուցումներու համար գրեցէ՛ք՝

ads@torontohye.ca ե-հասցէին:

To advertise in Canada’s only Armenian monthly newspaper, email ads@torontohye.ca!

Zoryan President K.M. Greg Sarkissian and Her Excellency the Right Honourable Mary Simon, Governor General of Canada (Photo: Office of Governor General)

This week-long event seeks to address how we, as a global society, confront violent actions and current and ongoing threats of genocide throughout the world, while also looking to the past for guidance and to honor those affected by genocide.

April 15-19, 2024

Collective and State Violence in Turkey

Panelists: Dr Ayşenur Korkmaz, Dr. David Gaunt, Dr. Hamit Bozarslan

Moderator: Dr. Barlow Der Mugrdechian

The Erasure and Revitalization of Indigenous Cultures and Languages: A Comparative Analysis

Panelists: Lorena Fontaine, Lori Khatchadourian, & Talar Chahinian

Moderator: Karen Jarratt Snider

Atom Egoyan awarded Hamazkayin Medal

Award-winning filmmaker receives cultural society's highest honour

On March 17, 2024, the Hamazkayin Armenian Educational and Cultural Society celebrated its 95th anniversary in Toronto by honoring the distinguished Canadian filmmaker Atom Egoyan for his significant contributions to cinema, theatre, and opera. Egoyan was awarded the prestigious Hamazkayin Medal, the highest honour the society bestows, at the 95th anniversary event organized by the Hamazkayin Toronto Klatsor chapter at the Armenian Youth Centre's Hamazkayin Theatre.

Egoyan, a figure of international acclaim in the world of film, has been recognized with numerous awards in Canada and abroad. His work is celebrated for its innovative storytelling and exploration of complex themes, establishing him as a pivotal figure in contemporary cinema. According to a press statement released by Hamazkayin Canada, Egoyan's dedication to the arts and his support of Hamazkayin's initiatives in Canada, particularly the Hamazkayin Pomegranate Film Festival, were highlighted as key reasons for this accolade.

The medal was presented to Egoyan by Zakar Keshishian, chair of the Hamazkayin Central Executive, who made a special trip to Canada for the event, and Tamar Donabedian Kuzuian, Hamazkayin Central Executive's representative in Canada. The Hamazkayin Medal is awarded to individuals who have made notable contributions to Armenian culture, as well as to long-standing members and benefactors of the organization who have significantly supported its growth and initiatives.

Egoyan's body of work and his commitment to cultural enrichment reflect the mission of the Hamazkayin, which aims to foster Armenian cultural identity and heritage. "[Atom Egoyan's] receipt of the Hamazkayin medal underscores his enduring impact on Armenian culture and the global arts community," reads part of the statement released by Hamazkayin Canada.

Atom Egoyan, born in Cairo in 1960 and moved to Canada at three, has had a prolific career in film, theatre, and opera. Known for films such as "Exotica" (1994), "The Sweet Hereafter" (1997), and "Ararat" (2002), Egoyan's work often deals with themes of alienation and isolation, using non-linear narratives to engage the audience deeply. His films have earned him international recognition, including two Academy Award nominations for "The Sweet Hereafter." Egoyan has also made significant contributions to the Canadian and international theatre and opera scenes, directing several operas since 1996.

The Hamazkayin Armenian Educational and Cultural Society was founded in Cairo in 1928. The organization has chapters across North America, including

Canada, where it has been active since the establishment of its first chapter in Montreal in 1963. The Hamazkayin Toronto Klatsor chapter was founded six years later, in 1969. The society works to promote Armenian culture and education, unifying various cultural groups under its umbrella and fostering cooperation among them. ֎

Join the Armenian National Commmittee of Canada:

The ANCC is seeking a Government Relations Director

The Armenian National Committee of Canada (ANCC) has announced the opening of a full-time, permanent position for a Government Relations Director. This role will be on-site in Ottawa or on a hybrid basis, with frequent travels in Canada, particularly to Ottawa. Reporting directly to the ANCC National Board, the successful applicant will have a unique opportunity to influence the federal government's policies and actions concerning human rights and the Armenian-Canadian community.

The ANCC stands as the most prominent and influential grassroots human rights organization within the Armenian-Canadian community. It is committed to promoting the interests of the Armenian-Canadian community, actively addressing a wide range of issues through collaboration with its network of offices, chapters, and supporters throughout Canada, as well as with partner organizations worldwide. Dedicated to eradicating human rights abuses, the ANCC champions justice and equality both within Canada and on the global stage.

Key responsibilities for the role include creating a comprehensive government

relations strategy, direct advocacy and lobbying efforts with elected officials, coordination with local chapters for unified advocacy efforts, and engagement with the Armenian-Canadian community to incorporate their views into the ANCC's initiatives. The position also involves significant research, public relations, and collaboration with NGOs and human rights groups to maximize the ANCC's impact. Candidates are expected to possess a bachelor's degree in a relevant field, a strong understanding of Canadian political processes, and excellent communication skills. Experience in government relations or advocacy, particularly with a focus on human rights, is highly valued. The ability to work independently and adapt to a fast-paced environment is crucial, as are negotiation and relationship-building skills. Bilingualism (English and French) and knowledge of Armenian are considered assets. The application deadline is April 27, 2024. Applicants are encouraged to email their resumes and cover letters to the ANCC (national.office@anccanada.org). The salary will be competitive and reflect the selected candidate's qualifications, experience, and educational background. ֎

(L-R) Hamazkayin Central chair Zakar Keshishian, honouree Atom Egoyan, and Hamazkayin Central Canada representative Tamar Donabedian (Photo: J.H. Kuzuian, courtesy of Hamazkayin Canada)

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Vartan (PharmD, RPh), Sarkis (BScPhm, RPh) & Maral Balian (PharmD, RPh)

Musical minds: A conversation with pianist-composer Eve Egoyan

By Dr. Araxie Altounian

Musical minds is a conversation series with established, talented Armenian musicians with a Canadian connection who contribute to Armenian musical culture in innovative ways and build bridges between the Armenian diasporic community and its host societies. AGBU Toronto has graciously provided its Zoom platform for live broadcast on Facebook, and its recording on Facebook and Instagram, while Torontohye has been kind enough to publish them.

The following is based on my conversation with my seventh guest, internationally celebrated CanadianArmenian pianist and composer Eve Egoyan. Eve has been distinguished as one of the 25 top Canadian pianists of all time by the CBC and was inducted into the CBC Hall of Fame in 2023. Considered one of Canada’s primary ambassadors for Canadian music abroad, Eve has been designated “CMC Ambassador” by the Canadian Music Centre. She has recorded thirteen solo CDs, which have received the accolades” Best Classical” by The Globe and Mail in 1999, one of “Ten Top” classical discs by the New Yorker magazine in 2009, and “Top Classical Disc of the Year” by The Globe and Mail in 2011. Eve is an elected Fellow of the Royal Society of Canada (FRSC) and an elected Associate of the Royal Academy of Music, London, England (ARAM).

Egoyan will perform in “Longing and Belonging,” an evocative all-Armenian program, at the Meridian Arts Centre, George Weston Recital Hall, on May

10, 2024. This concert features four Canadian premieres alongside works by Komitas Vardapet, delving into the depths of Armenian musical heritage through the lens of a CanadianArmenian pianist’s personal journey. Tickets range from $30 to $50, plus applicable fees, and can be purchased through the TO Live website and Ticketmaster.

***

Araxie Altounian: Eve, you are known as one of the most celebrated contemporary music specialists in Canada. Can you give us a glimpse into your musical journey from childhood to your arrival in Toronto?

Eve Egoyan: I was born in Canada; my parents were born in Egypt and emigrated in 1962. They were outstanding visual artists, and art was very much at the forefront of our household. Culture was very important to my parents. There was no piano in the house, but our neighbor had one. Her sister had played for silent movies, and I insisted she teach me everything about the piano. So, I would go there after school, and she taught me what she knew. At a certain point, I bugged my parents about lessons. They were not really keen; they put me in group lessons with Mrs. Brayshaw, who I ended up adoring as a piano teacher. She took me into scholarship piano lessons because I was advancing quickly and an eager pianist. I continued to go to the neighbors to practice until I could afford a second-hand piano.

I did my basic training at the Victoria Conservatory, then my undergraduate study at the University of Victoria, and this was all standard repertoire. In my second year at university, I was trying to figure out how to leave Victoria as it was such a small town. I applied for scholarships and received two: a DAAD for Berlin and a Commonwealth Scholarship to study at the Royal Academy of Music in London. So, my first time away from Victoria was in Berlin. I should also say that I studied in the summertime at the Banff Centre with a very well-known pedagogue and amazing musician, György Sebők, a Hungarian pianist, who recommended a Hungarian teacher, Georg Sava in Berlin. After four years of study in Europe, my mother said I should return to Canada

for an academic degree because musical institutions are not academic in Europe: It’s totally artist training, extremely rich and vibrant, but there’s no degree. So, I came to the University of Toronto because my brother was here and because I was also accepted to be a resident at Massey College, a scholarship residence and a graduate residence of a very high caliber. In Toronto, there were a bunch of composers whom I had met in Victoria, and I got to play their music. That’s when I became keen about playing the music of my time. When working with a living composer, you can work together like Mozart did when the composer wrote specifically for the musicians of his time. So, pieces have been written for me. My practice is very traditional – it’s how musicians used to be. It’s only in our time that there’s been a separation between the composer and musician, as well as this repeating of music from the past rather than playing music of our time. What I’m doing is what people used to do: playing the music of their own time.

Altounian: Matthew Parsons from the CBC wrote in 2015: “Classical music ought to have a sense of adventure, and Eve Egoyan certainly does. One of this country’s most respected contemporary music interpreters, Egoyan is willing to take on anything, from improvisation to electronics to whatever the next crazy thing may be. And not only that: she can also make lovely music at the piano. That’s crucial.” This “sense of adventure” opened a few doors, such as commissions from various composers and the ability to compose your own works.

Egoyan: I don’t play just anyone’s work because when playing a piece for the first time that nobody has heard, your responsibility as a musician is beyond what standard [repertoire] is because people have to be comfortable with it. You have to be fully committed for anything positive to be received by the listener. I select works that interest me and are strong compositional voices. I also program things carefully so that they can be heard in the best way I can imagine. I connect with people whose aesthetic appeals to me because I know I can do the best for them. It is uncomfortable to be in a situation where you’re playing a piece of music you’re not convinced of. I forged relationships with composers whose work I click with. Also, I’m living in a time when women have as many opportunities as men – hopefully! So, I have an awareness of trying to keep things in balance because we can now. This should be supported, because if women don’t see women being played, the next generation of young women won’t want to continue. It’s important that they’re on a stage, they’re visible, they’re being published, so that in the future it feels like it’s possible for a woman to be a creator.

Altounian: You’ve had nine works commissioned by women composers. Can you tell us more about your collaborations with some of them?

Egoyan: There are three key ones. Maria de Alvear in Spain and two Canadians, Ann Southam, who’s no longer with us, and Linda Catlin Smith, both Torontobased composers. The first time I met Maria, I was playing a two-hour-long piece of hers, and she came from Germany, where she was living. It was quite overwhelming. She thinks in large terms. Playing that music was transformative because I had never spent two hours within one compositional language with my audience. That meant that the audience had time to shift into her sound world. She had written me three piano concertos and wrote the work Asking when I was wondering whether I should have a child: an hour-long piece of deep self-inquiry, a very internal and emotional piece.

Ann Southam wrote a response to Asking, Simple Lines of Inquiry, originally called A Little Quiet Music for Viva, and wrote it after hearing Asking, which is notated proportionately. Maria writes only the pitches on the page, so I make decisions on everything else. [Ann] wanted to write a piece that incorporated a little bit of that freedom. So Simple Lines of Inquiry was written in response to Asking but also to Viva’s birth. These two amazing women don’t have children, and they’re close to me, so they invested in imagining this for me. Ann wrote a lot of works for me for about ten years before she died of cancer. I released three CDs of her works. Linda Catlin Smith was my first commission from the Canada Council for the Arts. The first piece written for me was a Nocturne by Linda, Nocturne for Eve. I recorded a disc of her piano works. Now her career has exploded, she’s performed by the BBC orchestra and people are putting out discs of her work all the time. She’s a close friend and an impeccable page-turner!

Altounian: In your biographical notes, we read: “Eve has created a series of works which delve into the space between what a piano can do and what she wishes a piano could do, combining acoustic piano with new technologies.” Can you tell us more about your interest in technology and the augmented piano?

Egoyan: I wouldn’t be working with technology if I were not married to David Rokeby, a well-known media artist. We had our first collaboration when [composer] Peter Hatch from a festival called Open Ears suggested we do something together. We created Surface Tension for the piano and responsive visuals. It’s a unique piece where visuals are responsive to certain parameters that the piano can do. I create both sound and image, and they’re interwoven through touch. That was my first piece with technology. Next, I was invited to have a residency at Avatar in Quebec City, where they matched me with a programmer, Patrice Coulombe. I wanted to extend what a piano can do. I love the piano. I want to play the piano and not the electric keyboard, but at the same time, I want to make it seem like it can do things that it normally can’t do, like hold a note forever, do a trill, a tremolo, shift pitch, go higher or lower than it can, putting it on a kind of magical journey. I also wanted to write for the instrument, but I found I was a bit locked because

I had been playing music by other people for so long, and that music inhabited me in a way that bothered me when I was trying to write. So, by recreating the instrument, I could break through that. I also created a notation for myself using a four-stave rather than a two-stave system.

Altounian: In the spring of 2022, you visited Armenia for the first time. That’s when you first met composers Tigran Mansurian and Vaché Sharafyan, whose works you will be performing soon. But first, please tell us what it was like to be in Armenia and discover Armenian culture.

Egoyan: I had the honour of being supported by the Canada Council for the Arts for both of my visits to Armenia. I also had the pleasure of having my friend Gascia Ouzounian there for my visits. On my first visit, I was astounded at what a musical culture it is. Music is everywhere: classical, jazz, improvised, exploratory, experimental, folk. Everyone seems to sing or to be playing an instrument. It is embedded in the culture. Artists are treated with a lot of respect. There’s a sense of history and lineage. The land is what draws me back right now: the sense of space and age. It’s not only the architectural buildings but also the landscape itself, the things that grow there, the type of air, the type of food there – it’s very distilled and feels very real. It’s very far away and very old.

[With Gascia Ouzounian] we did the walk to [the Armenian Genocide memorial] Tsitsernakaberd from downtown and joined the crowds. It’s hard to put things into words. We were just fortunate to be part of it. The night before was exceptional too because they sang outside at the Opera House, which was remarkable.

Altounian: Your second visit was in the spring of 2023, but this time, you had a busy professional schedule with concerts, masterclasses, and workshops held in collaboration with violinist and sonic theorist Gascia Ouzounian. Can you tell us more about those events?

Egoyan: They chose my concert program, which consisted of works that they had not heard of before. Michael Finnissy is a British composer who represents what is called a high complexity school. Linda Catlin Smith’s is an extraordinary piece that was written for me, and they chose it. They wanted these two pieces using the technology that I had created. Interestingly, they curated this program. I also gave masterclasses in standard repertoire and did a workshop with Gascia Ouzounian about graphic notation – a type of notation that can be highly varied, the question of what the stimulus is for imagining sound. There’s a very open culture there. [The young students] want to hear everything. They’re incredibly gifted, bright, and driven.

Altounian: You have played a duo recital with Gascia Ouzounian on violin with a program consisting of the works of Khachaturian, Babajanian and Komitas at the University of Oxford, UK.

Egoyan: Armenian music was a complicated issue for me. My father responded very emotionally to it. His parents were orphans of the genocide, and it was pretty unbearable how easily triggered he was to this music. Since I couldn’t deal with his emotional response to Armenian music, I avoided it. There was Armenian music in the house, folk music, and church music. But I had this emotional suspicion about how deep it could go. So, when Gascia Ouzounian, a close friend I trust wholeheartedly, suggested that I journey into Armenian music, I went on with it. With her holding my hand, metaphorically, it was wonderful. So yes, this was my beginning. Gascia has been alongside me on this journey as a friend, an artist, and a fellow Armenian. She understands my reticence but also how important this is for me at the same time, also how important it is for me to do this journey my way since I chose composers that I’m interested in, composers who I could “speak” with, and a program that I feel is very solid.

Altounian: How did you feel about playing this music?

Egoyan: It was tricky because it felt way too familiar, and I find that hard because I don’t want to mimic. I got used to playing music I never heard before, which I can come to on my own terms. When you have a history of hearing something, it’s harder to hear it for the first time and find a true place for yourself within it. The pleasure of playing music that’s been written for me, where I introduce things for the first time, is that there’s no possibility of being emotionally responsive to something because that’s how people respond to it – it’s a cleaner journey. I think that is why I didn’t respond positively to my father’s emotions; I couldn’t deal with them. It wasn’t clearly spoken about why he was so emotional (well, we knew a little bit). Maybe he didn’t even know because his mother and father were orphans, and they didn’t have a lot of language about where they came from. So, music became this unspoken emotional place of course, because music is a language but not spoken. It goes beyond words, which is a very difficult place. My father’s emotionality was not held with care – it was extreme and hard not to reject. Maybe that’s why I have become more careful about hyperexpression gestures. I had it so much when I was a child and did not understand it because it was not expressible.

Altounian: On May 9, 2024, you will give your first solo recital dedicated to contemporary Armenian composers and Komitas. Could you explain the genesis of this program? What were you searching for when choosing these composers and their works?

Egoyan: My choice is subjective. [Tigran Mansurian’s] Lullaby for a Prince is the introductory piece of the program. It’s gentle and not very long; an exquisite small composition for piano, extremely intimate, that draws us into a space of listening right off the bat. The next piece [Aghavni (Doves)] is by Mary Kouyoumdjian and is a direct → 20

response to the genocide. It’s in three movements: before, during, and after, and is a very explicit piece of piano writing. Its compositional language is very clear – it’s familiar, very earthy, and rich. After Mary’s piece, there’s Gelalian’s Tre Cicli, which is inflected by Arabic rhythms and has a propulsive piano writing. It’s very rhythmic and alive. Next are four movements from Vaché Sharafian’s Goat Rite. His musical language opens up into a new place. It’s quite free and surreal. It’s evocative music, very pianistic, ritualistic. It incorporates Armenian elements that are elevated and transformed. He’s extremely lyrical and free and very much himself as a composer and pianist; you can hear this in his music. It’s affecting and evocative. It comes from a pantomime and has that visual presence or sense of time, with a lot of pauses – it’s quite lovely!

After intermission, I will play [Komitas’] Seven Dances, which are extraordinary pieces for the piano, unlike any other type of notation for the instrument, which incorporates the Armenian elements of folkloric melodies but also evocations of percussion instruments and drone. Those divisions are like a type of counterpoint, like Bach. It’s very beautiful, transparent, delicate, and powerful at the same time. To do that without the heaviness of European harmony on a European instrument, it’s pretty strange writing because it’s so exceptional for the piano that it seems unexceptional because it’s natural. The next piece that takes the idea of monody or a single line to a more avantgarde place is Nariné’s Four Monodies Monody is a single line. She has these lines then these extreme responses like a lot of deep cluster chords, kind of volatile in its expressiveness. It’s a stealth piece because it seems still but it’s actually highly emotive. It’s the most extremely emotional piece on the program because it’s the most dissonant (but not), and the most dramatic.

This is followed by my piece, Ghosts Beneath My Fingertips. The second half explores monody—single lines—more than the first half. Komitas implies Armenian instruments. In my piece, you actually hear Armenian instruments. Right off the bat, I’m playing the duduk because I’m triggering it while I’m

playing. We can also hear my daughter Viva’s voice.

Altounian: Gelalian’s piece is from 1969. That was the time when chromaticism and atonality were the rage in Europe. Does he succeed in achieving something close to that while using the chromaticism embedded in oriental scales instead?

Egoyan: Totally! It’s not like high European contemporary music, but much more in line with the Arabic sound world. It’s a great piece of music, even the form – how the three movements are interwoven and how they’re composed. It’s an interesting piece of music because it doesn’t fall strictly within the European tradition. You feel his unbelievable musicality and pianism and his ability to blend. He’s trying to find a place for himself within that European world, which is, I think, what Komitas was also trying to figure out, as well as Nariné. Nariné is very European. She lives in Germany and has these extremes in how she uses the piano. That’s the interesting thing about this diasporic music: We are very much affected by where we live. Mary’s piece sounds kind of American, Nariné’s kind of German, and Gelalian’s sounds Lebanese. I don’t know if my piece sounds Canadian.

Altounian: That’s the Armenian reality. When composing, Komitas was trying to create an idiom that was specifically Armenian. Still, he couldn’t have imagined that several years later, Armenians would be massacred, survivors would be dispersed around the world, and their artists would be influenced by the cultures in which they lived. So the question arises: what happened to that Armenian idiom? How do you perceive this issue when putting your pieces next to each other?

Egoyan: It’s extraordinary. Everyone [I am playing] is Armenian, and I feel strangely very close to these languages. There is a ‘family feeling’ around this music, and yet everyone is trying to get to this place of ‘Armenian,’ even Komitas when trying to put that Armenianness into a European instrument, which he does brilliantly. The sense of ‘longing and belonging’, or everyone’s idea of what it means to be Armenian, trying to find a place of ‘belonging’ as an artist, is different even though the aims complement

themselves in this program. It’s a very intriguing program. I’m quite curious to know how both Armenians and non-Armenians will hear it. Of course, I’ve played a program of Japanese music or Spanish music, but I’ve never, as an Armenian, played a program of Armenian music, and that does feel very different.

Altounian: Can you hear the diversity in the Armenian identity when you’re performing these pieces?

Egoyan: There’s not just one Armenian sound. How could there be? There’s this desire for purity, which would be unnatural and probably unhealthy. If we don’t adapt to where we are, that would not be a good thing.

Altounian: You have prepared a documentary to introduce each composer and their work to the audience.

Egoyan: The pleasure of working with living composers is that they can speak for themselves. The document, conceived and created by documentary filmmaker Su Rynard, brings their voices into your ears before you hear their music. There’s something very

precious about that. Unfortunately, we had to edit it to a digestible length. Hearing a composer talk about what they do is exceptionally moving and informative. Nobody’s a composer because they have to be. They’re totally invested in their musical practices. This document gives an essence from each of them, and I find it astonishing.

It is my pleasure to do this program. I didn’t know it was going to come together like this. The program, as a series of pieces, will be a very interesting journey in a way that I didn’t expect it to be – much bigger and richer. They’re all strong [pieces]. There is a lot of diversity but also a similarity that binds them. ֎

Egoyan's “Longing and Belonging,” an all-Armenian program, will take place at the Meridian Arts Centre, George Weston Recital Hall, on May 10, 2024. Tickets range from $30 to $50, plus applicable fees, and can be purchased through the TO Live website and Ticketmaster.

The Last Repair Shop’ is an Oscar-winning ode to craftsmanship and compassion

In mainstream modern cinema, spectacle often trumps substance. "The Last Repair Shop" flips this script and emerges as a beacon of hope and humanity. Directed by Ben Proudfoot and Kris Bowers, this Canadian-American production recently secured an Academy Award for Best Documentary Short Film at the 96th Oscars, a recognition that highlights the film's exceptional quality and profound impact on audiences and critics alike.

"The Last Repair Shop" delves into the heart of Los Angeles, showcasing the dedication of a small but committed group of craftsmen at a unique repair shop notable for maintaining some 80,000 musical instruments and providing them to LA public school students at no cost. The documentary shines a light on the lives and stories of these unsung heroes whose work fosters the dreams of young musicians. Among them is the Armenian-American Steve Bagmanyan, the shop's manager, whose personal journey from Baku to the United States weaves a powerful narrative of resilience and contribution to the arts. Facing ethnic persecution in Azerbaijan in the late 1980s and after losing his father to an anti-Armenian hate crime, he is forced to flee his native Azerbaijan. The tale of his former boss taking a chance on Bagmanyan as a first-time piano tuner is especially inspiring. This opportunity not only empowered Steve but also paved the way for him to deeply impact the lives of countless students.

Yet, Steve's story is just one thread in the tapestry of "The Last Repair Shop." Alongside him stand Dana Atkinson, Paty Moreno, and Duane Michaels, each a master artisan in their own right. From Dana's voyage of self-discovery to Paty's pursuit of the American dream as a single mother and immigrant and Duane's unexpected rise from buying a $20 fiddle to performing on the same stage as Elvis, their narratives intertwine to reveal the complex fabric of human experience.

What sets "The Last Repair Shop" apart is its ability to capture the essence of its subjects with sincerity and depth. The film avoids grandiose over-adornment, presenting its stories with clarity and authenticity. Its cinematography, marked by crisp visuals, brings to life the intricate work of repairing musical instruments and changing lives in the process. These sequences are visually arresting and symbolize the care and dedication that go into preserving the art of music for future generations.

The documentary's narrative is enriched by its focus on the personal stories of the craftspeople and students' lives touched by the repair shop's work. These accounts highlight the importance of access to music education and the arts, themes that resonate universally. Bagmanyan's story will resonate, especially within the Armenian community, at this critical juncture for the Armenian nation. His journey adds a layer of cultural and historical depth to the film, making it especially poignant not only for Armenian viewers but also for those interested in stories of forced migration and resilience.

Beyond its artistic merits, "The Last Repair Shop" reminds us of the significance of community service and the impact of giving back, and its success at the Academy Awards underscores the film's appeal and the relevance of its message. It speaks to the universal language of music and the shared human experience of overcoming adversity to create something beautiful and everlasting.

"The Last Repair Shop" celebrates the individuals behind the scenes who, through their skill and dedication, enable the next generation of artists to flourish. In an era where the ephemeral often overshadows the enduring, "The Last Repair Shop" is a refreshing ode to the timeless value of art, the importance of community support, and the indomitable spirit of those who transform lives in unseen ways. It is a film that entertains and enlightens, leaving a lasting impression on its viewers and serving as a source of inspiration for artists and non-artists alike.

FILM REVIEW

Experience the heartfelt story of "The Last Repair Shop" for yourself by tuning in to the Los Angeles Times YouTube channel, where this moving documentary is available for free. ֎

The Last Repair Shop. 23 mins.

Directors: Ben Proudfoot and Kris Bowers

Producers: Breakwater Studios, LA Times Studios, Searchlight Pictures

Starring: Dana Atkinson, Paty Moreno, Duane Michaels, Steve Bagmanyan

Cinematography: David Feeney-Mosier

Editing: Nick Garnham Wright

Music: Katya Richardson, Kris Bowers

Scan to watch 'The Last Repair Shop,' available free on the LA Times YouTube channel.

Ի յուշ՝ Պարգեւ Գիրէջեանի

մահուան 24-րդ տարելիցին Ժանէթ Գիրէջեան

Շատ ուրախ տարիներ ապեցանք միասին, Քով քովի կտրեցինք ճանապարհը կեանքին, Տեսանք ծնունդը մեր անդրանիկ զաւկին, Քաղեցինք առաջին ժպիտն իր թանկագին: Ունեցանք օրեր շատ ուրախ, շատ տխուր, Միասին կազմեցինք ծրագիրներ բիւր, Տեսանք փլուզումը մեր երազներուն, Տեսանք թէ ի՞նչ կրնար ընել մարդը մարդուն: Եւ սակայն մենք՝ չյուսահատեցանք երբեք, Հասկցանք, թէ երազներն են դիւրաբեկ, Ու նոր խանդով, նոր եռանդով տոգորուած, վերակագնեցինք մեր կեանքը փշրուած: Երիտասարդ էինք, երբ զիրար ճանչցանք, Ու յաւերժ միասին ապրիլ խոստացանք, Ո՛չ ուժ խնայեցինք, ո՛չ ալ աշխատանք, Երկուստեք կերտեցինք ու պայքարեցանք:

Երիտասարդ էինք ու այդպէս մնացինք, Տարիները մեզմէ ոչինչ խլեցին, Նոյն չափով կը սիրենք գիրն ու նուագը, Հաճոյքով կը դիտենք արեւածագը:

Միայն մեր մազերն են լման ճերմկած Ու մեր հասակը քիչ մը աւելի կքած, Սակայն մենք դարձանք աւելի հանդուրժող, հասկցող, համբերող եւ դիրաւ ներող: Տարիներու հետ կրցանք քայլ պահել, Մեր զաւակները մեծցնել եւ ուղղել, Փոխանցել անոնց մեր համոզումները խոր, Նաեւ սէրը Հայրենիքին հեռաւոր: Միասին յուսացինք, ճգնեցանք, ապրեցանք, Բուն իմաստը կեանքին շուտով հասկցանք, Մեր ուղին գծեցինք շիտակ ու յստակ, Չեղանք երբեք անարգ նիւթին հպատակ: ֎

Ժանէթ Գիրէջեանը թորոնթոհայ կրթական մշակ, մանկավարժ, գրող, բանաստեղծուհի, քերթուածագիր հրապարակագիր, ՀՕՄ-ի «Ռուբինա» մասնաճիւղի անդամ եւ բազմաթիւ յօդուածներու հեղինակն է: Ան վարած է եւ կը վարէ բեղուն

ՀԱՄԱԶԳԱՅԻՆ ՀԱՅ ԿՐԹԱԿԱՆ ԵՒ ՄՇԱԿՈՒԹԱՅԻՆ ՄԻՈՒԹԵԱՆ ԹՈՐՈՆԹՈՅԻ «ԳԼԱՁՈՐ» ՄԱՍՆԱՃԻՒՂԻ ԳՐԱՏԱՐԱԾԸ

Կը հրաւիրէ ձեզ՝

Sunday, April 14, 1:00pm - "H Manougian" Library - 45 Hallcrown Place

Keith Garebian Lorne Shirinian Alan Whitehorn "PiecesofMyself" "KarabakhDiary"

"Minas Delirian","Remembering, KeepingaRecord","Arising"

Թահինով հաց (16 կրկնեփի համար)

Մեր սառցարանը միշտ թահինի հաց կար, սովորաբար հայկական հացի փուռեր այցելութիւններու արդիւնքով: Հայոց ցեղասպանութիւնը վերապրածները, որոնք ապաստանած են Լիբանան, իրենց հետ բերած են այս մասնագիտութիւնը, եւ, հետեւաբար, ան տարածուած է խիտ հայ բնակչութիւն ունեցող Պուրճ Համուտ թաղամասին մէջ: Սիրունը, որ մեծացած է Լիբանան, կը յիշէ, թէ ինչպէս ինքն ու իր նշանածը փողոցը «կը հետեւէին այս բոյրին», մինչեւ որ գտան այն հացի փուռը, ուր այն թարմ կը թխուէր: Խմորը աւանդաբար կը փաթթուի յատուկ ձեւով, որ, իմ կարծիքով, վերապահուած է փորձառու հացագործներու կամ մարտահրաւէր փնտռողներու (երբ խօսքը կը վերաբերի խմորի հետ աշխատելուն, ես այդ երկու խումբին ալ չեմ պատկանիր):

Լենային հայկական խոհանոցը [vegan]

Թահինի հացը, որ աւելի շատ նման է կրկնեփի (cookie), քան հացի, բնականաբար զերծ է կենդանական ծագման բաղադրութիւններէ, քանի որ ան Պահքի հիմնական անուշեղէններէն է: Իմ աճման շրջանին միշտ չէ, որ այս կրկնեփները նախասիրածներս էին։ Ընդհարապէս զանոնք կ'ուտէի միայն երբ ինչ ոչ քաղցր բան ուզէի ուտել, բայց զանոնք թարմ պատրաստելէն ետք վերջապէս սորվեցայ գնահատել ոչ քաղցր (թահինի) եւ քաղցրի (շաքարի) ներդաշնակ հաւասարակշռութիւնը, որոնք իրարու հետ լաւ կը համադրուին: Քանի դեռ չեմ փորձած Պուրճ Համուտի հացի փուռի թարմ եփուած թահինի հացը, ինչպէս Սիրունը կ’ըսէ՝ ամենէն լաւն է, արդէն իսկ կը գտահատեմ տունը պատրաստած համեղ շերտաւոր կրկնեփները, որոնք շատ համեղ են եւ գրաւիչ:

• 2 1⁄2 թէյի դգալ չոր թթխմոր

• 3/4 գաւաթ տաք ջուր

• 2 1⁄2 գաւաթ ալիւր

• 1 ճաշի դգալ աղ

• 1/2 ճ/դ շաքար

• 1 ճ/դ ձէթ

Միջուկը

• 1 գաւաթ թահին` լաւ խառնած

• 1 գաւաթ շաքար

• 2 ճ/դ կասիա

Զարդարանքի համար

• ձէթ՝ վրան քսելու

• Շաքար եւ կասիա

Հացի պատրաստութիւնը

Թթխմորը, շաքարը եւ տաք ջուրը միասին բարձր գաւաթի մը մէջ դնել եւ ձգել տասը վայրկեան տաք տեղ, մինչեւ փրփրի։ Ամանի մը մէջ խառնել ալիւրը եւ աղը, մէջտեղը փոս բանալ, աւելցնել ձէթը եւ թթխմորի ու ջուրի խառնուրդը՝ լաւ խառնելով։ Լաւ շաղել, մինչեւ առաձգական հիւսուածք ստանալը: Թասը եւ խմորը թեթեւ ձէթոտել, ծածկուած վիճակի մէջ ձգել մօտ երկու ժամ (փուռը լաւ տարբերակ է): Երկու ժամ ետք խառնել շաքարն ու կասիան եւ փուռը տաքցնել մինչեւ 400°F (200°C) ջերմաստիճան:

Աւելցնել միջուկը

լուսանկարը՝ Սիրուն Բարսեղեանի

• Սուսամի հատիկներ (ըստ ցանկութեան)

Խմորը բաժնել չորս հաւասար մասերու՝ երեքը փակ պահել, որպէսզի չչորնան։ Խմորի իւրաքանչիւր կտոր գրտանակով շրջանակաձեւ բանալ հնարաւորին չափ բարակ, աւելցնել այնքան թահին, որ առատօրէն քսուի խմորին վրայ՝ ձգելով ծայրը մէկ մատնաչափ առանց թահինի: Աւելցնել շաքար-կասիայի խառնուորդը, որպէսզի ծածկուի թահինի ամբողջ շերտը: Խմորը զգուշօրէն գրտանակել, որքան հնարաւոր է ամուր եւ բարակ, կամ, եթէ նախընտրելի է աւանդական եղանակը, խմորին մէջտեղը անցք մը բանալ եւ զգուշօրէն գլորել դէպի դուրս՝ հնարաւորին չափ ամուր փաթթուած պահելով։ Խմորը փաթթելէն ետք, օգտագործելով ձեռքի ափը, շարունակել խմորը փաթթել՝ հնարաւորին չափ երկարացնելով։ Այստեղ քիչ մը կոտրուածքներ ըլլալը բնական է, վերջնական արդիւնքին գոյն կու տայ: Երկար խմորը կտրել չորս հաւասար մասերու: Կրկին ձեռքերով, իւրաքանչիւրը հնարաւորին չափ երկնցնել: Այնուհետեւ երկար խմորը շրջանակաձեւ ոլորել խխունջի պատեանի նման, ծայրի մասը ամրացնել խմորին տակ: Խմորը ափով կամ գրտանակով նրբօրէն տափակցնել։

Երբ կրկնեփները պատրաստ ըլլան, վրան ձէթ քսել, աւելցնել սուսամի հատիկներ եւ մնացած շաքար-կասիայի խառնուրդը, պատառաքաղով ծակծլել, որպէսզի

Հորիզոնական

3. (գոյ.) այս թերթին անունը

4. (գոյ.) լրագրի, թերթի աշխատակցութիւն կամ ասպարէզ

6. (գոյ.) լրագիր

9. (գոյ.) ան որ գրական աշխատանքի (օրինակ՝ թերթի) համադրութիւն կը կատարէ

11. (գոյ.) թերթի աշխատակցող

Ուղղահայեաց

1. (գոյ.) 100 x 2

2. (անուն) մեր քաղաքը

5. (գոյ.) պարբերական հրատարակութիւն, որ լոյս կը տեսնէ ամիսը մէկ անգամ

7. (գոյ.) ամիսը անգամ մը հրատարակուող թերթ

8. (գոյ.) հրատարակչական աշխարհ կամ տպող մեքենայ 10. (գոյ.) հայ մը՝ Թորոնթոյէն

Խաչ-բառ

Crossword

200th special

Juniorproblem Garnimadesometransactionsinhersavings accountthisweek.OnMonday,shewithdrew $1,300.Then,onWednesday,shedeposited$385 backintoheraccount.Afterthesetransactions, Garni'saccountbalanceis$1,000.

Question:HowmuchmoneydidGarnihaveinher accountonMondaybeforewithdrawingthe $1,300?

Across (գոյ.) այս թերթին անունը (գոյ.) լրագրի, թերթի աշխատակցութիւն

կամ ասպարէզ (գոյ.) լրագիր (գոյ.) ան որ գրական աշխատանքի (օրինակ՝ թերթի) համադրութիւն կը կատարէ

11. (գոյ.) թերթի աշխատակցող

Down

1. (գոյ.) 100 x 2

2. (անուն) մեր քաղաքը

5. (գոյ.) պարբերական հրատարակութիւն, որ լոյս կը տեսնէ ամիսը մէկ անգամ

7. (գոյ.) ամիսը անգամ մը հրատարակուող թերթ

8. (գոյ.) հրատարակչական աշխարհ կամ տպող մեքենայ

Զուլալին առանձնատառը (հայերէն sudoku)

10. (գոյ.) հայ մը՝ թորոնթոյէն

Seniorproblem Howmanyoddnumbersaretherein thefollowingfinitesequenceof oddnumbers?

1,3,5,7,...,1915

Answers to Armen's Math Corner

Jr. Prob.: 1915

Sr. prob.: 958