This site’s content and design is by fans in appreciation of, and not professionally related to, Nareh Arghamanyan.
Nareh Arghamanyan is a rare pianist, a refreshing reminder that endless pianistic abilities are still possible, without sacrificing quality or spirit.
Few pianists today, or in the past, have repertoire that featured strengths in composers including Bach, Beethoven, Chopin, Liszt, Prokofiev, Rachmaninoff, Schumann, among many others. She subscribes to no “musical school” where certain concert pianists have been known to say “I do not like Russian music” or “What is the purpose of playing things others have played so much?”
Instead, Arghamanyan performs music of virtually all musical styles, periods, and important national backgrounds – all as if she came from that background. The first example could be seen in Montreal when at just the age of 19 her performances at the Montreal Piano Competition featured music by a prelude and fugue nu Bach, late Beethoven, Chopin, Debussy, and Rachmaninoff;s Piano Sonata No. 2. Finding a single concert artist who has performed Beethoven’s opus 110 Sonata and Rachmaninoff’s Piano Sonata No. 2, both superb masterpieces, is a challenge for any pianophile. To find a pianist at age 19 whose performances are available on Youtube that display incredible understanding and passion for both works is unheard of. Her performances in Montreal already show a terrific pianist with supreme command of the keyboard.
Arghamanyan has added even greater variety to her repertoire ever since Montreal. She made several recordings for the Pentatone label, but also has toured Europe and the United States in repertoire that features commonly played works to the piano concerto by Khachaturian and the Rubinstein Piano Concerto No. 4. Most recently, she is touring with an all-Russian program with only two commonly played works on it – Tchaikovsky’s Dumka and Balakirev’s Islamey. But, she also includes rarely heard solo works by Glazunov and Medtner’s gorgeous Sonata Reminicenza.
Yet, some of her most favorite works to perform for the public or herself include late Brahms and Bach’s Goldberg Variations. When Horowitz performed music, everyone knew it was Horowitz because Horowitz’s approach to the piano did not often change significantly from work to work – most notably his Chopin sounded unlike virtually any other pianist’s because it had very similar elements to his Liszt and Schumann. With Arghamanyan, as Montreal showed. Her performances of Bach, Beethoven opus 110, and Rachmaninoff’s Piano Sonata No. 2 showed a musician most interested conveying each work in its own light.
Arghamanyan’s style of piano playing adapts to the work in front of her. Her ability to performance the glowing Bach-Marcello Adagio in such a sensitive and free manner, and yet perform Bach’s Goldberg’s Variations with clever structure while articulating voices so eloquently shows an artist that is more chameleon than lion in the works she takes on.
She is constantly on a quest to explore new repertoire, including that from her own Armenian heritage. Russian music is very dear to her, but the music of Bach and Brahms rewards her intellectually and profoundly. Recently she became fascinated with a concerto by Danzi, a rarely heard classical composer, and recorded it as part of a large recording project. For her, music may be music – but it never just a score to perform. Many artists have said these types of messages, but few provide the evidence that it is in their hearts.
For Arghamanyan, the evidence is already crystal clear and can be found on choice of repertoire, the incredible quality of her performances of such diverse repertoire, and some of the videos on Youtube (and Vimeo) both from Montreal and taken from commercial recordings or live performances.
For her fans, we feel supporting such a unique and sincere artist is both a noble and a just cause. We find it refreshing that an artist is truly sincere to her own convictions and to music itself.