A NEW PROMISE

Within the circles of the Lebanese Musical Activities, it became a pleasingly elegant tradition, the Weekly Concerts organized and sponsored by the Lebanese State High Conservatory, which are held on Fridays, at 7:30 PM at the Assembly Hall of the Lebanese State University's Medical Faculty, at Sin El-Fil, which rightly create the necessary musical atmosphere, for both the teachers, and the students, and in general, for the amateur music lovers. These musical concerts highly enjoy the sponsorship of His Excellency the Minister of Culture, and the President of the National Conservatory. On Friday, January 9th, the Lebanese Armenian Pianist Miss MARO (AWADIS) YESSAYAN gave her first Piano Concert. Miss Yessayan, yet starting, her very teen age, was a known name, through her active participation to different festivities and musical undertakings, and this benevolently, and with genuine pleasure. She took part in the Lebanese "Rainbow"(Dziazan) Teen-Youngsters' Orchestra and presently, she is the outstanding pianist of the "SHNORHALY" (Graceful) Chorus of the Armenian Catholicossate of the Great House of Cilicia. She received her elementary musical education at the "Parsegh Ganatchian" Conservatory of the Hamazkaiyine Cultural Association, and then, she specialized. And graduated from the Lebanese State Superior Conservatory, where presently she is a teaching-professor.

Marie Awadis performed that evening a complex, difficult, and diverse and varied styled program, in which, extensively were performed artistically the Baroque, (Scarlattit's Sonata No33, Bach's Toccata & Fugue No. 2), and the Romantic, (The Chopin Etudes No 7, 12, and Ballade No. 1), and the Impressionism's pioneer, the French Claude Debussy's (Prelude "Clair de Lune", "Etude d'Octave) and Rakhmaninoffts (Prelude No5, "moment Musical" No. 1 and 4), and the Armenian Folk Inspirational Creations of Saradjian's "PASTORAL" and "SONG WITHOUT WORDS".

Marie Awadis, by interpreting the classical Literature's most significant piece of works, and a very inclusive program with comparative positive success, she exteriorized all the spiritual sensations and the musical styles of different musical periods.

A11 those who were fortunate of previously hearing the piano playing of this Lebanese Formation Pianist, were pleasantly confronted, and face to face with this incessantly uninterrupted scrutinizer and inquisitive piano player, and this perpetually pianist in motion, who proved to be very meticulous and critical, and a devoted pianist to her peculiar art of playing, and with her first Professionally impeccable, and artistically accomplished playing, gave us the prime promise to reach the culmination and the very zenith of professional musical results, pleasantly and artistically contaminating the listeners, and consequently being awarded with the reserved appreciation of the assistant audience.

This Musical Concert shall be repeated on February 15th, 1988, at · 5:00P.M, in the "Araradian Hall" of the Armenian Catholics at Ashrafiyeh.

We congratulate Miss Yessayan and wish her continual success, at the same time remanding the Armenian Music Amateurs that, similar Concerts, and those performed at the Sin El-Fil Audience Hall, can definitely become the ideal meeting place for all Music Lovers.

ZAKAR KESHISHIAN,
In the "AZTAG" Armenian Daily in Beirut

A YOUNG A TALENTED PIANO PLAYER

We can not disregard, pass over, keep under silence and imperceptible, the piano concerts of the young, piano player, Marie Awadis (Yessyan) graduated from, and professor at the national superior conservatory.

The distinguishing peculiarity of this delicate and sincere musician, - who, actually pursuits her musical and piano courses with the maestro Boghos Gelalian, - is this equilibrant dosage of the sound, and yet above all, this very intimate and private musicality, which once played elevates, and transforms her angelic play, persuasive, and deeply touchy all the same.

May she be always progressing in that very direction, and peculiar professional path?

George Baz

MARIE AWADIS, A REMARKABLE SENSE OF THE TINT-SHADE

Presented by the National Superior Musical Conservatory, MISS MARIE

AWADIS has offered to the Amator Piano Lovers, a beautiful Bouquet of works, where successfully resounded the partitions of BACH, SCARLATTI, CHOPIN, DEBUSSY, SARATCHIAN, and RACHMANINOFF.

"A rich program, electrical in essence, and which exteriorized the many performing faces of this young Pianist, who is talented and inspired. From the very first musical measures of the "Toccata et/and Fugue No. 2" of Bach, the tune was certainly reaching to earnestness and fervor and even to a certain severe accents, because the pianist interpreter was not after exteriorizing bravery effects. On the contrary, she rather underlined the dramatic aspect and the intensity of the musical piece of work, where are aimed and pointed out, with obvious discretion, clarity and passion. More reconciled and drawn nearer, the exercises and the intellectual attainments of this Sonata No, 3 Longo of Scarlatti, which is singled out with a definite line of elegance, ease and comfort. Living rhythms, and definitely marked, often bold and daring harmony, with a subtle and fine use of the counterpoint. Constant worry and anxiety of a certain decoration, but the pure Virtuosity is absent there. We do hear with obvious willingness the musical pieces of Scarlatti on our pianos nowadays. His narration is first and always, pleasant to hear. Changing of Cap with the absolute romantism of the prince piano keyboard

Then, we successively enjoyed the Etudes Op. 25 No.12 and 7 and the Ballade No.1 of Chopin. Concert pieces indeed, contrary to their titles, these studies and works, which are less revelatory of a national influence, offer nevertheless melodious and musically harmonious lines, where we reveal rhythms of Polish inspiration. They are rather the result of the research studies of the compositor in the polyphony proper to the piano, and to the technical virtuosity.

We are then delighted with moments of musing and of relaxation, with the Ballade No. 1, developing with grace and a certain melancholy two them, which are linked and connected together, and melted and mixed imperceptibly.

A Ballade, which does not necessarily need to be described, or to be faithfully followed with any argument.
Purr roving vagabondism of the spirit, the sonorities of which are purely astonishing in nature.
After the Intervalle, a Debussy piece of musical work is played with a Prelude(with respects and compliments to Chopin), along with the famous "Clair de lune" and an octavious study. Refinement and delicacy with fine sensibility of an original script, where the philosophical intention or the descriptive intent is absent.
Debussy, the marvelous melodist, has succeeded to draw out of the piano keyboards certain accents and sonorities, which leave the audience deeply, mused.

Once we witness the changing of the Cap, with the "Song without Words" (La chanson sans parole), and the "Hovveerk" (Pastoral) of Saradjian, of which, and the content of the piece is hardly known by the audience public. - But this peculiar Armenian Spirit is omnipresent, vivacious, livingly bright, exciting, inflaming, enthusiastically lyrical, and nostalgic.

And to end and terminate this enchanting concert, we have Rachmaninoff: The Prelude op 23 No. 5, and the "moment musical" op 16 (No. 1 and 4)', Whirl winding, turning round and round, brilliant, with an impetuosity slightly in discretion, is in fact the Prelude Op 23 No. 5 where Rachmaninoff is tied again and renewed with a spirit eminently romantic.

The "Moment Musical " is displayed and spreaded like a sumptuous poem, where the sonorities enriched with harmonious tunes, have mixed the softness of a dreaming melody with the rhythms of precipitated tunes, overflowing with quick successive and deafenin velocity.

MARIE AWADIS (YESSAYAN) has duly exteriorized a remarkable sense of

Tinted shades, and artistically giving to each partition, the necessary and required tune. From Fervour, earnestness, and striping and despoiling Bach, to the passionate impulse of Rachmaninoff, passing through a grain of fantasy for Scarlatti, a silky musing for Chopin, a delicacy of Porcelain for Debussy, and the melancholic lyrism of Saradjian.

This young pianist interpreter was gifted not only with the measure of a deep sensibility, but with a communicative emotion, which gave to these pages the whole intemperate beauty.

Edgar DAVIDIAN